Methods and techniques for teaching fine arts. Methods of teaching fine arts

No. 1 Goals and objectives of teaching f. art in secondary school.

No. 2. The patterns of manifestation of creative abilities of schoolchildren in the lessons will depict the arts. Child drawing is the predominant type of children's creativity at an early age. As a child grows and enters late childhood, he or she usually becomes disillusioned and discouraged from drawing (8-9 years). After 15-20 years of age, interest sets in again, only children who are extremely gifted experience it. respect. This cooling of children hides the transition of drawing to a new, higher stage of development, which becomes accessible to children only with favorable external stimuli. The initial period is depicted. activity – a period of active relationship to the image and surrounding things. Drawing ml. a schoolchild is almost always a depiction of an event. A significant place in classes should be given not only to observation, but also to children’s communication with elements of reality, active work with such elements. Weds that allow you to “act”. the main problem– to encourage children to take up drawing and other types of fine arts. To do this, use interesting and varied forms of work, form in children the relationship between observation and fine art movement, i.e. skill of the hand, obedience to its visual representation. The teenage stage of fine art activity is analytical. On Wednesday. With age, the idea and expressive task become the core around which the comprehension of methods of representation is organized. It is necessary to gradually and consistently complicate the learning process. The greatest difficulties for children are traditional searches, the transfer of figurative expressiveness of form, proportions, volume, color, flavor and space. A necessary condition for the development of student abilities is the introduction of individual game elements and games into the structure of art lessons. Play is the leading activity of a preschool child. It is always associated with the child’s experience of positivity. emotional state. Gaming moments enhance children's attention, stimulate thinking, imagination, and fantasy. Visual memory, eye, and imagination develop. Games contribute to their overall development through the development of children's fine art creativity.

No. 3. Method. carried out. Fine arts classes at school. The methodology considers the features of the work of teachers. with students. Here the methods of teaching and the location of the classroom are important. material, teaching Plan, program, principles of teaching, goals and objectives of educational work in general. The methodology is based on scientific data from pedagogy, psychology, aesthetics and art history. By the word methodology we mean, first of all, a set of rational methods. methods of training and education. This is special. department of pedagogy, which studies the rules and laws of educational construction. process. Since teaching methods are developed in accordance with the teaching material, each school subject has its own tasks and its own system. Course of Study. We adhere to the classification of teaching methods developed by Lerner, Skatkin, Babansky, Makhmutov.

1. explanatory-illustrative - presenting information to students in different ways: visual, auditory, speech, etc. assimilation of knowledge.

2. Reproductive method - for the formation of skills and abilities: conversation, exercises.

3. Research - independent solution of creative problems by schoolchildren. A system has been developed that influences the development of thin. creativity of schoolchildren: developing interest in the study of fine arts, nurturing self-confidence, consistent complication of fine arts activities, mastering the means of art. Expressiveness, the use of TSO in classes, the use of a variety of artistic materials and techniques for working with them, the introduction of game elements into the structure of the lesson. Goals: to prepare comprehensively developed, educated members of society, to raise children aesthetically, to develop their art. taste, help children explore the world around them, reveal the practical significance of drawing in human life, develop the creative abilities of students, give the right direction to their esthete. perception of the world. Education cannot be separated from education. Parts of the lesson: organization of classes, presentation of new material, independent work of students and summing up the results of the work. When presenting the teaching. material, the teacher must constantly be faced with the task of doing everything possible so that all students understand it. The main practical task of teaching fine arts in Wed. school – mastering the basic fundamentals of drawing, techniques and drawing skills. A serious place in the teaching methods of drawing in the beginning. classes has proper organization of the student's workplace. Children Jr. age they draw very quickly, the work is done according to the first impression. The method of working with high school students becomes more flexible and individual. When pointing out shortcomings in a student’s work, it is necessary to comply with the ped. tact and show respect for the student’s personality.

No. 4. Visualization as a means of activation will depict the activities of schoolchildren. The principle of impudence consists in the fact that students go to reliable knowledge, turning to the objects and phenomena themselves as a source of knowledge. Psycho. basics of nag. closing is that in the human mind decisive role sensations play, i.e. if a person has not seen, heard, or felt, he does not have the necessary data for judgment. An art teacher constantly has to use bold means. Fig. from life in itself is a method of visual teaching. The process of drawing from life begins with a sensory visual perception of the depicted object, so it is necessary to ensure that the full-scale setting itself attracts the attention of the drawer to the main thing. Setting up the nature of the book. not only to install it well and beautifully in front of the painters, but also to help reveal the basic laws of realistic drawing and painting. Insolent is closely related to the correct organization of observation and analysis from nature. The principle of impudence requires such a presentation of educational material in which the concepts and ideas of the student become clearer and more specific.

Pr-r: basic position of the eyes. List the main Wed nag.. They help the student to correctly see and understand nature, its shape, structure, color and texture. One of the effective methods of visual teaching is the teacher’s drawing, which allows students to learn the capabilities of the performance technique. However, the process of constructing a drawing by hand is ped. should be well coordinated with the course of presentation of the educational material. The main thing in this case should be the teacher’s explanations; the drawing only complements the words. 1st type of drawing - work on a chalkboard - an excellent method of impudence. training. It helps to understand what he sees, influences the child’s mental development and the correctness of his judgments. The main quality of ped. drawing - conciseness of the image, simplicity and clarity. Using sparing means of graphic language, the teacher enables children to clearly understand and imagine what is being said. 2nd view – the teacher’s sketch in the margins of the student’s drawing. Type 3 is the correction of errors in a student’s drawing by the teacher’s hand. The demonstration of drawings by outstanding artists and cinema is of great educational and educational importance. Observing the principles of the head teacher. must conduct business in such a way that all students are explained and shown examples of the application of certain laws and rules of drawing. Insolent in teaching drawing from life, we consider it not as an auxiliary means of teaching, but as a leading one. The principle is visual. should permeate the entire system of teaching fine art.

№ 5 Comparative analysis modern concepts of teaching methods of art. art.

No. 6 Fundamentals of scientific research work in the field of children's visual activities.

No. 7 Subject of the methodology. Definition, goals, objectives, connection with subjects of special and vocational training. A methodology is a teaching method, the work of a teacher with a student, with the help of which a better assimilation of educational material is achieved and academic performance increases. The teaching method in each school subject has its own characteristics. A training system is formed from a set of teaching techniques and methods, united by a common direction. An example of a system of teaching fine arts is the pedagogical system of P.P. Chistyakov.

Of course, in the process of teaching, each teacher develops his own working methodology, but it cannot be arbitrary or random. The training system for each teacher must be built in accordance with the general objectives of the school, the goals and direction of modern development of the fine arts, and they must be at the level of modern pedagogy. The methodology deals with the development of the most appropriate methods of teaching and education, establishes the rules and laws for constructing the educational process, and proposes new teaching methods. In the concept and method of teaching comes teaching and learning, where the right to vote is given to both the teacher and the student. The teaching method is a method of teaching students, changing their personalities. Method is a Greek word that means investigation, the path of progress towards truth. Sometimes this word is associated with the way information is presented. The teaching method is a testing and systematically functioning structure of the activities of teachers and students, consciously implemented with the aim of implementing programmed changes in the personality of students.

Forms of training, in addition to the regular lesson, which allows the use of various methods, are also excursions, student practice, homework of students, extracurricular and extracurricular activities, frontal, group and individual work of students. Since the main object of the field of teaching methodology is the schoolchild, it is impossible to do without such sciences as psychology, physiology, ergonomics and other branches of science closely related to human activity. In the field of fine arts, every researcher in his scientific work relies on the works of I.M. Sechenov, I.P. Pavlov, K.N. Karnilov, B.M. Teplov, E.I. Ignatiev and others. The most fruitful scientific research in the field of art teaching methods are those that combine theory with practice, summarizing the best teaching experience, as well as studying the best practices of art schools of the past and present. The methodology of teaching fine arts as a science theoretically generalizes practical experience work, offers teaching methods that have already proven themselves and give the best results. The methodology is based on scientific data from the pedagogy of psychology, aesthetics and art history.

It forms the rules and laws of communication in the visual arts and indicates modern methods of educating the younger generation. The art of teaching is acquired through practice and many years of creative work. Teaching work, by its nature, is a creative, living activity. The teacher must be creative in his approach to the matter, since he is dealing with living people. Methodology as the art of teaching consists in the fact that the teacher must be able to approach the student correctly, immediately see what he needs, and provide him with help in time. The presentation of educational material should be simple and clear. Moreover, the teacher's task is to reveal complex concepts to students in the simplest and most accessible form.

It is not enough to explain and show a different method of work; one must ensure that this method is well mastered. And this requires great skill from the teacher. In order for a student to understand you well, explanation and demonstration alone is not enough; you also need to be able to see and feel how the student perceives the educational material, how he reacts to your words and actions. There must be a psychological contact between the student and the teacher, they must understand each other well The teacher can see through the expression of the child’s face and eyes, whether he can understand what is being discussed or not. Successful learning is not possible without contact between the teacher and the student. A methodological guide when learning to draw helps a child quickly learn the rules of constructing a realistic drawing and understand the laws of the structure of nature. As a result of properly conducted training, schoolchildren quickly get used to independence, their interest in knowledge and science increases, and a desire for further improvement in drawing is born. And all this suggests that the teacher, in addition to learning to draw well, also needs to thoroughly study those forms and methods of teaching that give the best results. To successfully master the technique, it is necessary to use all the best that has been achieved in previous eras. It is necessary to study the methods of teaching drawing in the past and find out what was positive in the methods of the past and note negative sides training.

Knowledge of the history of teaching methods contributes to the development of a holistic view of your subject. The history of teaching methods, the experience of previous generations, helps to correctly solve modern problems. Based on the general objectives of education, the school course in fine arts aims to:

1. To prepare comprehensively developed, educated members of society, capable of taking an active part in various sectors of the state, social and economic life of the country;

2. Aesthetically educate children to develop their artistic taste

3. Help children explore the world around them

4. Reveal the practical significance of drawing in a person’s life, teach how to use drawing in work, in socially useful work;

5. Give students knowledge of the elementary fundamentals of realistic drawing. Instill to demonstrate skills and abilities in the fine arts and familiarize with the basic technical techniques of work. Instill a love of work, cultivate accuracy and perseverance in work;

6. Develop the creative abilities of students, give the right direction to their aesthetic perception of the world. Develop spatial thinking, figurative representation and imagination;

7. To familiarize schoolchildren with outstanding works of Russian and world fine art. Instill interest and love for visual arts.

The program for the harmonious development of personality in our country requires from the secondary school such tasks of preparing the younger generation for life so that it corresponds to the scientific and psychological process and the level of development of modern culture. A lot of new things were introduced into the general system of secondary schools in 1960 of the last century. The primary school moved to a three-year education, and special elective courses were introduced for in-depth study of individual subjects, including fine arts.

No. 8 Lesson plan - notes, calendar plan and programs. Their relationship, taking into account the surrounding socio-demographic and geographical conditions.

No. 9 Types of extracurricular work. Organization, support, capabilities, goals. appl results. In addition to teaching in the classroom during school hours, the teacher often has to teach students outside the classroom and outside the school. Extra-curricular and extracurricular work means such activities as: Conversations, lectures and reports with the display of reproductions, slides and filmstrips, organization and leadership of drawing and painting groups, conducting excursions to museums, exhibitions and artists’ workshops, organizing various exhibitions, trips to plein air sketches, decorating the premises for holidays, organizing evenings - concerts, conducting extracurricular activities.

The organization of extracurricular and extracurricular activities pursues the same tasks and goals as during school hours. But it helps to solve these problems deeper and broader, with the use of new material, in a more serious form, relying on the active interest of students and their creative initiative.

The leading role of the teacher continues in extracurricular activities. The teacher monitors the students’ work and their overall development and guides this work.

Extracurricular activities must be structured in such a way that children continue to develop and improve their skills.

It is also necessary to convince children during classes that art is not fun, not entertainment, but serious work that requires effort and brings great joy. The teacher must find methods of educational work that would arouse in children an interest in beauty, a desire for beauty, and the need to create according to the laws of beauty.

To successfully manage extracurricular activities, it is necessary to draw up a plan for all activities in advance and outline their topics. Extracurricular activities of the art teacher are coordinated with the class teacher and students. It is also necessary to take into account the time of extracurricular activities, the number of activities and the age characteristics of students.

The form and nature of extracurricular work plans can be varied.

So, extracurricular and extracurricular activities develop interest and love for art, more fully acquaint students with the wonderful works of outstanding artists, and promote aesthetic education. The content of classes should be as varied as possible.

Isocircle the most common type of extracurricular activity. Art classes in school clubs are, as it were, a continuation of school classes. These are classes for those who are seriously interested in art and these classes are, to some extent, an aesthetic need for them. Organization of the work of the circle includes drawing up a lesson program taking into account the inclinations and interests of students of different backgrounds.

Art circles can be very different: drawing and painting, dpi, design, linocut, ceramics, young art critics, etc.

The teacher’s task is to involve as many people as possible in the regular work of the circle. large quantity students. Considering the age. Features of the circle need to be completed in groups. The teacher monitors the work of students and their overall development, and directs this work. and, in a more serious form, based on active

Excursions are a very interesting and meaningful type of educational work. they deepen the knowledge acquired by students in class, broaden their horizons and activate independent work on drawings. excursions are organized in order to more fully reveal a particular topic of the curriculum, to better familiarize with the types of art, and to give a clear idea of ​​the specifics of the artist’s creative work. When organizing an excursion, the teacher will discuss with the children the goals and objectives of visiting the exhibition.

Conversations, extracurricular conversations are held in cases where the topic raised in class has aroused particular interest among students and they have expressed a desire to gain deeper knowledge on this issue. and also in cases where a complex topic does not provide an opportunity to fully present interesting material during class hours.

Reports, as a rule, are done by the students themselves. The teacher selects the most capable and developed as speakers.

No. 10 Types of progress recording, role of assessment. Your opinion on the appropriateness of assessments. Checking the work of the school is perceived by students as a disappointment, as constant nightmares for

teachers who, while quickly moving forward, begin to check the results achieved with fear and reluctance. When it is necessary to compare the results of a school’s functioning with its

plans. In traditional school practice, instead of the concept of “testing the school’s achievements,” they often talk about testing students’ knowledge, which has its own meaning. Nowadays, testing is given not a formal character, but a business content: not only the teacher checks the progress of students, but also the students

check the level of their knowledge. In addition, the teacher checks himself, for example, in the question of whether he correctly organized the study of what became the subject of the test. Very a big difference differs in terms of "student knowledge" and school achievement. The term “knowledge” means only one, albeit important, part of “school achievement.” Other important components include the ability to solve problems, perform practical tasks, develop interests and motivation to study, and develop such character traits as personal responsibility, accuracy, endurance, and efficiency. Checking school achievements in combination with their assessment is an integral part of learning. In the first case, we are dealing with the so-called current control, or educational verification. Educational testing covers the entire process of teaching and education and is designed to constantly improve the work of teachers and students.

The final test concludes the learning process and covers the previously worked part of the program. When assessing the quality of work using a five-point system, one must keep in mind that in the first grade of the first quarter, students’ work should not be assessed. It's best here

limit yourself only to conversation with students. Periodic or quarterly 9 accounting by deducing the overall grade for the student’s work performed at that time. Final accounting is an assessment of schoolchildren’s work for the year based on arithmetic average data. Sometimes the annual mark can; does not agree with the average data of the class magazine. Unreasonably overestimating a drawing mark is unacceptable: This loses respect not only for the teacher, but also for the subject of drawing itself. The biggest drawback is the large share of subjectivity and intuition when checking and assessing achievements. This approach is not only biased, but also obliges to be pedagogically incorrect, Another The disadvantage is the limited possibilities for analyzing school achievements* comparing school students' grades will not give an absolute result. since grades given by the same teacher for the same task, but at different time intervals, differ from each other, sometimes very significantly,

The universal method of conducting an audit is the correct formulation of questions, problems, tasks and recommendations. Some should be aimed at encouraging students to think correctly and act clearly and clearly, to understand what and how they should know and do. Daily current accounting gives the teacher the opportunity to promptly identify weak, lagging students, study the reasons for their lag and organize help for them. The teacher is making a big methodological mistake if he himself reminds the class every time of the material studied. Each drawing must be evaluated, each student must receive a mark for any work. In the normal setting of educational work, all children draw willingly and with love. Their attitude towards lessons depends primarily on

teachers. Assessment of work should be carried out systematically and recorded in the class register. The magazine consists of two parts; in the first part, data on the attendance and progress of students is recorded, in the second part, the topic of the lesson and content, homework are noted.

There are 4 types of progress recording: preliminary, current, periodic and final.

The teacher usually keeps preliminary records when receiving a new class, when it is necessary to find out what the level of knowledge and skills, degree and training in drawing of each student is.

Preliminary accounting makes it possible to methodically correctly build the educational process based on real representation in preparing schoolchildren. Current accounting is carried out in the process of educational work. Two types of current accounting are possible: directly during the execution of the task and during

presentation of the material. The current sudden and final check belongs to the number of traditional, ordinary forms of control. Its most common type, current testing, is based on the teacher’s constant study of the work of the entire class and individual students.

Its goal is to make sure that the student will master the program at the next stage of education. Conventional forms of verification are based on the use of the simplest methods: conversations and written work. The main oral test of students' knowledge and skills is conversation. Quite often, an examination is checked by a student drawing tickets with one or more questions from trained examiners.

Written work carried out for the purpose of testing the knowledge and skills of students is, first of all, homework, and along with this class work,

Observing the work of students provides additional data about their ability to organize their workplace, work order, and their performance. The assessment of each work must be objective. For subjective assessment, in addition to the teacher’s requirements, it is necessary to develop a certain criterion and evaluation system. Such a system of objective assessment should follow from the very structure of the drawing and the requirements that the teacher usually places on his students, and the method of constructing the image that both the teacher and his students adhere to. This should include both literacy and expressiveness of children’s drawings. Such a system can be expressed in successive stages of drawing evaluation,

1. How the composition was solved

2 The nature of the shape of objects: the degree of similarity of the image with objects in reality

3. High-quality constructive construction.

4. Perspective: how the student has learned the quality of perspective, how he uses it when constructing an image, how the phenomena of linear perspective are conveyed. Conveying volume: how the student uses the visual properties of drawing and painting to convey the volume of objects; how the laws of light and shade are learned, how the reflex on objects is conveyed.

5.Proficiency in equipment:

6. General impression of the work.

My personal views on the role of assessment and its usefulness vary widely. On the one hand, there are positive and negative qualities in general.

No. 11 Design, equipment and equipment of a special class . Fine Arts Cabinet A. The cabinet windows can be oriented to all sides of the horizon, including to the north. The southern location of the windows requires the use of white curtains or special blinds against the action of direct sun rays. The room should have side lighting on the left side at workplaces. Student desks should be positioned so that the light falls from the left side and the shadows falling from the hands do not interfere with writing and drawing. It is prohibited to obstruct light openings (from the inside and outside). The light openings of the office should be equipped with adjustable sun-shading devices such as blinds and light-colored fabric curtains. For artificial lighting, fluorescent lamps should be used. Lamps should be installed in rows along the cabinet parallel to the windows. It is necessary to provide for separate (in rows) switching on of lamps. For additional lighting, it is recommended to use a series of lamps with a uniform light diffuser. The coloring of the room, depending on the orientation, should be done in warm or cold tones of low saturation. Rooms facing south. They are painted in cold tones, and to the north - in warm tones. Painting in white, dark or contrasting colors is not recommended. The walls of the office should be smooth, allowing them to be cleaned using a wet method. Window frames and doors are painted in White color. The temperature in the premises was maintained within 18-21 degrees Celsius; air humidity should be between 40-60. The office should have a water supply (cold and hot water) for conducting classes in painting, decorative and applied arts, design, sculpture. One or two sinks should be located near the front door. To use various technical teaching aids, the office must have a proper power supply. safety rules in accordance with requirements.

Requirements for the premises of fine art classrooms In a basic school, the teaching of fine arts must take place in two rooms for primary and secondary classes, each with an area of ​​at least 80 square meters. . Alternative and elective classes are recommended to be conducted in additional studios with an area of ​​at least 36 sq.m. Organization of work places for teachers and students. The teacher's workplace in the fine arts classroom should be located in the front part of the classroom and consist of a teacher's table with a chair, a stand for equipment, a blackboard, and a projection screen. For an office, it is recommended to use a chalkboard with five working surfaces, consisting of a main board and two folding ones. These boards must have a magnetic surface. The equipment of the teacher's place should be completely determined by the teaching technology. In student tables for drawing and drawing, the working surface should change from a horizontal position to an inclined one with an angle of up to 75 degrees. The inclined position of the working surface is intended for painting and drawing classes, the horizontal position is for writing, making models and other activities. To organize group classes, it should be possible to divide the room into separate zones using movable screens, partitions or furniture.

Requirements for equipping classrooms with technical devices and devices. The fine arts room should be equipped

Projection, video and audio equipment: - slide projector, epiprojector, - graphic projector, other projectors; - color TV with a diagonal screen size of at least 61 cm with a VCR.

Requirements for equipping the classroom with educational equipment and necessary documentation. The fine arts classroom must be equipped with teaching aids for the following types of classes: drawing from life, arts and crafts classes, plastic arts; design and production of simple models, conversations about art. The range of educational equipment must correspond to the content of the curriculum chosen by the school and be guided by the current “List of educational equipment in fine arts for educational institutions of Russia”, approved by order of the Ministry of Education of the Russian Federation. The office should have a sufficient set of methodological literature for students, including a methodological journal on the subject, training programs for fine arts in a given educational institution, reference literature of a normative nature, and an educational standard for fine arts. The office should have file cabinets of reference literature, methodological literature for teachers, for students, a file cabinet of teaching aids systematized by grade, by topic, a file cabinet of teacher preparation for the lesson, a thematic file cabinet containing individual and group assignments for students. Requirements for interior design of a fine art office. The design of fine arts classrooms must meet the functional requirements of educational technology scientific organization activities of students and teachers. A chalkboard should be placed on the front wall of the office. Side wall of the office, free from furniture, should be used for display. Information stands can be temporary or permanent. Temporary exhibition stands must include working and instructional stands: - working stands must contain material used in studying a specific topic of the program; - instructional stands should contain recommendations of a methodological nature and include more textual material. Long-term exhibition(portraits of artists, statements) should be placed at the top of the side wall above the temporary exhibition stands. Different fonts can be used in the design of stands: printed and handwritten, Arabic and Gothic. Headings and subheadings should be in the same style.

No. 12 Organization of full-scale production (object, still life) For a novice artist, the difficulties in performing a full-scale production lie in creative constraint, on the one hand, which makes it difficult to realize one’s emotional manifestations in the work, and in a lack of professional skill, on the other. Students should develop the ability to convey apparent changes in the proportions and shape of objects, depending on their position in space, in relation to the person drawing, that is, taking into account the point of view of the person drawing and the laws of perspective. It is necessary to know the rules and laws of visual literacy and be able to apply them in practice. Along with developing the ability to work on a full-scale production, it is necessary to develop image skills from memory and presentation. “The best, and perhaps the only way to counter the advanced development of stereotypical (template) visual thinking is constant or periodic modeling practical conditions educational tasks that would imply a forced need to act contrary to the usual order of actions, i.e. force to act creatively” Agreeing with the statement of V.N. Stasevich, we can assume that by placing the student in unusual conditions - the need to depict nature from memory - we provoke the student to a non-standard solution to the assigned problems. It should be noted that such tasks do not deny the presence of a full-scale setting, however, students’ work with nature should take place while simulating a situation in which the student turns to nature for study, and not blind copying. When performing a thematic still life, students are faced with the problem of creating an artistic image based on a full-scale setting. Here it is possible to use the technique of emphasizing a specific visual task, be it movement, an interesting silhouette, unexpected lighting, or spatial characteristics of the depicted nature. All this is connected with the creative thinking of the artist. At this stage, it is very important that the artist sees the features of this still life and feels the originality of the setting. Original lighting from nature can help here, perhaps even colored lighting, which will deepen the impression and awaken the imagination of students and help in the creative development of the work. When depicting a still life, you cannot draw all objects to the same degree.. Each subject of a full-scale production requires a special treatment: one (for example, the first plan) should be more carefully analyzed, worked out in more detail; the other (background) can be depicted in general terms; it is enough to express the nature of the form.

When drawing a still life from objects of different shapes and textures, you need to analyze and demonstrate in practice your knowledge of the linear constructive image of the form, find a compositional solution for the full-scale setting (choosing the size of the image of objects and their texture); skillfully introduce a background that will help to expressively show each of the objects separately and their harmonious unity.

When starting to draw a still life, the process of constructing an image must be divided into separate stages. Lack of consistency in work leads to passive, mindless copying. It is necessary to observe the following stages in performing a full-scale production:

· conduct a preliminary oral analysis of the proposed production,

· find the compositional placement of the image on the working plane of a sheet of paper,

· hand over characteristics shapes of objects and their proportions,

· give a constructive analysis of the shape of objects in a given setting and a perspective construction of these image objects on a plane,

· achieve integrity and expressiveness in the depiction of still life.

Observation from personal teaching experience. Reflections on problems in teaching fine arts. Analysis of the most used educational programs. some concepts and techniques that are most effective.

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Observations from personal work experience.

Belyaeva Zhanna Valerievna

Teacher of fine arts and world artistic culture.

Municipal educational institution secondary school No. 12 with in-depth study of individual subjects “Education Center”

The city of Serpukhov, Moscow region.

Problems, concepts and technologies of teaching fine arts in secondary schools.

Let's talk about the application of our approaches to teaching art to schoolchildren and the problems that we constantly encounter in the process of this application.

From a psychological point of view, all forms of art can be divided into visual (for example, visual arts), auditory (for example, music), kinesthetic (for example, dance) and multimodal (for example, theater).

But such a division does not mean that only one sensory system will be involved in the process of creative activity. In particular, artists paint pictures, for example, depicting rhythm; often devote their entire canvases to various musical works. And composers, in turn, figuratively represent a certain plot and reflect it when creating a musical work.

In addition, the mechanisms of perception are designed in such a way that different types of art often exist in parallel; for example, the association of color and sound is well known. If you understand how each of the perception systems works and how they interact with each other, then these concepts can become the basis for revealing many creative processes.

Teaching a specific type of art is impossible without understanding the mental mechanisms that generate and develop creative activity.

Many teachers and developers of educational technologies lose sight of the fact that initially art, like any other type of human activity, is a product of our psyche, and not vice versa. It is the system of feelings, ways of thinking, aesthetic and moral ideals, and modeling techniques that underlie the creation of any creative work.

Culture is the most complex system of accumulation of human experience, serving as a “starting point” in development for subsequent generations, as a complex of unique guidelines, strategies and patterns highest quality. By mastering a culture with the help of adults, a child has a chance to master art much faster and at a fundamentally different level of complexity, while also developing personally at a higher level. Each new round of cultural progress creates opportunities of a different order for the development of subsequent generations. Cultural experience and development are thus mutually dependent processes.

The experience of the school education system shows that if children are taught art without taking into account the mental mechanisms of cognition and creative activity in the hope that personal development will immediately follow the training, then a whole group of students will be poorly involved in the creative process, and their results of creative development will be low. This occurs due to the fact that the personal experience of students is inconsistent with the educational process.

It is in this regard that modern concepts and technologies for teaching art should be fully based on knowledge of mental mechanisms, and the system of professional training of teachers should contain a large share of psychological knowledge.

When developing any new concept or technology for teaching the arts, it is necessary to answer a number of key questions:

What is the purpose of teaching art in school?

What exactly does practicing a specific type of art provide for a child’s personal development?

What basic mental mechanisms underlie creative activity?

What should be taught in school education?

How to teach art most effectively in terms of personal development and educational results?

I am convinced that the developmental role of art should be well understood by every teacher. It is associated with the following components of personal experience:

With the development of the sensory-emotional sphere;

With the development of perception and fantasy;

With the development of intelligent operations;

With the development of modeling tools and skills;

With the development of speech and thinking;

With the development of aesthetic and moral norms and ideals;

With the development of mechanisms for searching and creating personal meanings;

With the development of self-concept.

With the development of an individual picture of the world (model).

As a result, art classes contribute to the development of a special artistic and aesthetic perception of the world, the creation of a unique model of the world for each student. As they form, their role becomes more and more active in building a system of relationships between the student and the surrounding reality. A student at a certain stage of his development, thanks to the most complex system of internal attitudes, accumulated knowledge, the most subtle system of interpretations and personal meanings, begins to proceed more from the model of the world he has created than from objective reality. And the present and future of the student depends on how broad, multidimensional and flexible it is.

It is well known that human beings, already at the early stages of their evolutionary development, created rock paintings, among which an increasingly complex chain of images can be traced: individual specific images, the development of a plot from a created sequence of images, image-symbols and, finally, images-signs. Obviously, to one degree or another, they were a natural attempt by man to create a language capable of modeling reality in a certain way, so drawings always acted as text. Similar functions of art can be traced in dance, folk music, primitive art, and then in theater, architecture, etc.

This is due to the fact that the human psyche initially harbors the ability to create various modeling languages; it allows a person to build many internal realities, some of which become the basis for the reconstruction of the reality around us.

Modeling realities is the key purpose of art, the leading instrument of human progress and creative transformation of the world. Therefore, art lessons as a way to improve modeling tools can hardly be underestimated for the development of intelligence and personality in general. Thinking and creativity are inseparable. The roots of human fantasy are hidden in the very nature of intellectual processes that cause the experience of unique emotional states. Therefore, in creative activity it is possible to most clearly and holistically combine the emotional, intellectual and spiritual spheres.

Understanding the role of art in the development of humanity and the formation of an individual personality, their relationships with the laws of mental development should form the basis of training for each specific type of art.

At the moment, a large number of educational programs for teaching fine arts have been developed for secondary schools. Among them, the programs of B. N. Nemensky V. S. Kuzin, T. Ya. Shpikalova have received sufficient distribution and recognition among training practitioners. Their main guidelines are reflected in the table below.

Features of educational programs

teaching fine arts in secondary schools

	Fine arts and artistic work (grades 1-9). Hand. and editor. B. M. Nemensky.	“Fine Arts”, author. V. S. Kuzin et al.	“Fine Arts”, author. T. Ya. Shpikalova and others.
Goals	Formation of the artistic culture of students as an integral part of the spiritual culture created by many generations.	Development in children fine art abilities, artistic taste, creative imagination, spatial thinking, aesthetic feelings and understanding of beauty.	Personal development based on higher humanistic values ​​through the means of domestic and world art.
	Represents a holistic system of introduction to artistic culture, including the study of all main types of plastic arts: fine art(painting, graphics, sculpture), constructive (architecture, design), decorative and applied (traditional folk art, folk arts and crafts, modern decorative art and synthetic (cinema, theater, etc.). In the lessons, playful dramaturgy on the topic being studied is introduced, connections with music, literature, history, and labor are traced. In order to accumulate experience in creative communication, collective tasks are introduced into the program.	The course content of this program consists of drawing from life, from memory and imagination of various objects and phenomena of the surrounding world, creating graphic compositions on topics of the surrounding life, conversations about fine art art The leading place belongs to drawing from life. The course involves conversations and in grades 7–9 lectures and practical work.	The content is built on the basis of enduring value concepts: person, family, home, people, history, culture, art. It represents an integrated approach to mastering artistic information based on students' knowledge in the field of humanities and natural sciences. Structured into blocks, sections and thematic planning of course content designed to ensure that students master grades 5–9. basics artistic images (artistic image and fine creativity of students), as well as the fundamentals of folk and decorative arts and artistic design activities.
Peculiarities	Art is not just studied, but experienced by children in the classroom. The content of each type of art is personally appropriated by each child as his own sensory experience. The program assumes a high level of theoretical training of the teacher.	Implementation of the program is available to specialists of various levels professional preparation.	All sections of the program include an approximate list of artistic and didactic games, exercises and creative works. To implement this program, it is advisable for a teacher to have a specialization in arts and crafts.

All of the above programs differ significantly in the ratio of practical training in artistic and creative activities and introducing children to various theoretical aspects of fine art (directions, types, styles, etc.). However, a more detailed analysis of the methodological recommendations of many educational programs in this area shows that educational technology for school teachers at the level of managing the methods and strategies of cognitive activity is not well developed, and the psychological aspects of personality development and the characteristics of age-related physiology are not fully taken into account.

As is known, human visual activity, as an individual need for children’s self-expression, begins quite early: almost every child begins to draw at the age of two, with the support of adults, and retains the need and interest in this activity until the age of 10–12 (for some it continues throughout life).

For first-graders, visual and creative activities are not something completely new due to the fact that the foundations of this activity are formed in preschool educational institutions. However, by the end of primary school, many children lose their interest in drawing. An analysis of my own teaching activities showed that 50% of 4th grade students no longer experience pleasure from this activity.

During the interview (185 fifth-grade students were interviewed), children who had lost sustained interest gave the following reasons:

Can't draw - 45%;

I don’t have time to draw in class - 20%;

It is not clear how to complete the task - 25%;

I don't like this item - 10%.

The data convincingly show that the ability to draw, the opportunity to realize oneself and achieve a positive result are the main sources of motivation for visual activity, and their absence is the reason for abandoning visual creativity.

In turn, the analysis of the reasons for students’ inability to draw shows that an even more important problem is the poor professional training of teachers, especially in the field of psychological and pedagogical competencies.

Regardless of the chosen art curriculum, there are still cases where the teacher gives tasks to children, for example, asking them to draw a still life, without any explanation of how exactly it should be done. In this case, there is no purposeful pedagogical process, children are busy with self-education, and only a few of them are able to successfully complete the task. This is partly due to the fact that many visual arts teachers are not specialists in this field. The small number of teaching hours in the program is not enough for the full workload of the teacher, and often drawing lessons are taught by part-time teachers or by teachers who have an art and graphic education but do not adequately know how to manage educational activities.

An analysis of the practice of teaching fine arts shows that there is an even deeper reason for this state of affairs - the teacher’s belief system.

Most teachers do not believe that within the framework of school hours it is possible to teach children to draw well, love art, and deeply perceive and appreciate outstanding works of culture. Since most often their own path to art was associated with professional studies in a fine art studio or art school, and then long-term experience of studying at an art school or at the corresponding department of the institute. This is the best case, and in the worst case, this very path to art is made by the teacher as a forced load due to the absence of a fine arts teacher.

Also, among modern teachers there is a widespread belief that creative abilities are given by nature only to a few, and therefore the point of view is formed that they can be developed only slightly. With such faith in the student’s abilities, the teacher will strive to educate children more, inviting them to get acquainted with various examples of art, and teach them the simplest skills of handling a pencil, brush, paints, etc., rather than creating.

There is a great risk that none of the developed programs will be sufficiently implemented due to a lack of faith in the student’s strength!

The views of teachers on the development of creative abilities of schoolchildren are explained by the fact that in educational psychology, at the operational level, ways of developing abilities are poorly developed. The teacher is not sufficiently familiar with the psychological mechanisms of their development, does not clearly understand his actions aimed at their formation, and does not have a system of techniques for assisting the student if he experiences difficulties in organizing his own creative process.

Fine art and the psychological mechanisms of mastering it should be closely interconnected in the educational process. Therefore, in order to effectively organize fine arts lessons, each teacher needs to clearly understand how the structure of a child’s personal experience and pedagogical means of their development relate.

The connection between logical levels and pedagogical means in teaching fine arts

Level in the structure of personal experience	Pedagogical means
Personal identity, self concept	Creation educational situations for assigning and manifesting roles: artist (painter, graphic artist, sculptor, designer, etc.), author, viewer, critic, tour guide, art critic, etc. d. Using only positive appeals to personal identity (formation of a positive self-concept). Creating a situation for the manifestation of your personal position. “Meeting with a Personality”: Master, Artist, Author. Ensuring targeted execution of creative work with the obligatory indication of the author's name. Holding a personal exhibition of a young author. Public protection of the author's concept/project.
Motivation, goals, values, beliefs	Faith in the student's abilities and talent! Identifying individual interests and expectations from the lesson, joint goal setting, using motivating metaphors, fairy tales, legends and stories. The use of particularly emotional statements by prominent figures of world culture. Individual planning of progress in mastering creative activities. Providing informed personal choice in learning (individual or group work, form and type of activity, topic, artistic means, complexity of work, individual or group activity, form of homework, etc.). Maintaining success notebooks. Periodic discussion of specific options for using learning outcomes figurative art in a child's life. Implementation of your own assessmentsstudentresultscreativeactivities. Selection « the bestwork» ForparticipationVcreativecompetitions. AwardsByresultstraining.
CapabilitiesAndstrategies	Modelinglessononbasisthe followingstrategies: General educationstrategies. Strategyperceptionartisticworks. Specialcreativestrategies: Imagesforms, choiceAndmixingpaints, ImagesSvetaAndshadows, creationcompositions, reflectionsprospectsAndT. d. StrategydevelopmentAndimplementationcreativework/ project. Strategiesanalysisartisticworks (planauthor, usecomplexexpressivefunds, definitionsaccessoriesworksToera, styleAndT. d.). StrategycreationreviewAndwritingreviews. StrategyproductivevisitsExhibitionsAndgalleries. Strategyorganizationsexcursions. Carrying outlessonsWithtaking into accountfullmodelsT. ABOUT. T. E. CreationsystemspositiveAndqualityreversecommunicationsByresultsAndprocesscreativeactivities. ImplementationtechnologiesCRPS, game, researchAnddesignactivities.
BehaviorAndactivity	Organizationartistically- creativeactivities: drawing, modeling, modelingfrompaper, CreationprojectdesignAndT. d. PerceptionAndanalysisworksart: contemplation, looking at, statementownopinions, Creationreview, writingreviewsAndT. d. ConversationsBytheoriesart. OrganizationconversationsAnddiscussions: dialogue, polylogue. Organizationplot-wise- role-playinggames. Organizationcreativeprojects. Organizationexhibitionschildren'sworks, schoolgalleries.
Educationalspace, environment	Specialorganizationspaceclass, Availabilityeasels, variousartisticmaterials (paints, crayons, brushes, pencils, plasticineAndclayAndT. d.). Aestheticdecorclass, design. AvailabilityExhibitionschildren'sworks. Systemmethodologicalequipment, TSO. SecurityparticipationVvariousexhibitionsAndgalleries, museumsfine artart.

Thus, the following principles underlie the concept of teaching fine arts:

1. Fine arts education is aimed at self-expression and personal development, and then at familiarization with examples of world artistic culture.
2. The student’s authorship is initially primary: first he acts as the creator of his work, and only then analyzes and correlates the results of his own creativity with the works of other students, masters of art.
3. While learning art, a student needs to master various role positions:“author”, “viewer”, “critic”, “art critic”, “painter”, “graphic artist”, “sculptor”, “designer”, etc.
4. Any type of educational activity in the lesson must have a personal meaning, be consistent with the interests of the child, and be focused on their actual use in the student’s life.
5. The development of interest in art and artistic taste is built on the basis of existing personal experience of creative activity, formed personal aesthetic standards, and mastery of the language of art.
6. The teacher and student must jointly agree on the goals of the educational process.
7. In the course of teaching fine arts, it is necessary to provide children with as much freedom of choice as possible: creating an idea for creative work, type of activity, artistic materials, individual or group work, difficulty of performing a creative task, form of homework, etc.
8. Teaching art must be coordinated with the child’s creative selectivity (preferences for types of activities, material, personal meanings, etc.).
9. At the initial stages, the teacher shows students various techniques of visual activity, and subsequently the children, mastering them, form their own experience of artistic and educational activities.
10. The process of teaching visual arts itself must be immediately built on the basis of an analysis of cognitive and creative strategies, thus managing the development of knowledge, skills and abilities.
11. In the process of studying fine arts, it is necessary to develop various types of reflection: the results of one’s own activities and the creative process, ways of managing one’s actions, as well as the perception of a work of art (intention, means of expression, aesthetic value, belonging to a certain era, direction and style of art, etc. .).

In general, it is necessary to build content school programs in fine arts, taking into account the following components:

Development of horizons and subject erudition.

Development of skills in visual and creative activities.

Development of cognitive methods and strategies.

Self-determination and self-realization of personality.

Self-organization and self-regulation.

Moreover, the first two components correspond to the traditional knowledge approach, in which the educational process is aimed more at getting to know various types, styles and examples of art in combination with the development of certain skills and abilities of educational activities.

The implementation of subsequent components is poorly represented in the practice of modern education. At the same time, fine arts as a school subject carries significant potential for their implementation. During the lesson, in a short period of time, it is important to ensure the creative self-realization of the individual and it is necessary to teach the child to effectively organize his activities: organizing his creative space, planning, preparation, implementation, analysis and correction, summing up the results of creative activity.

A lesson for each student should represent a completely completed cycle of managing one’s own actions. It is in fine arts lessons that this should be consciously taught to schoolchildren, since visual activity is initial stage is quite simple in its composition, containing many separate external actions. The experience of self-organization gained by the child can be easily transferred to other educational and life contexts. This is especially important for subsequent learning in general and, above all, intellectual activity, where it is not so easy to bring a child to an awareness of the structure of educational actions.

Regarding the development of self-regulation skills, fine art allows us to organize a diagnosis of the child’s emotional state and then, in the course of creative activity (especially when working with color), transform various negative experiences, thus the child learns to manage his mood.

The development of self-organization and self-regulation of students in art lessons can also be based on the organization of lessons on personal self-knowledge with the help of artistic means, with the skillful organization of reflection.

The CRPS technology we developed in general view involves the following stages of lesson organization:

Organizational moment and introduction to the lesson.

Joint goal setting.

Heuristic conversation/creation of game context.

Spontaneous self-expression in the process of creative activity.

Diagnosis of creative preferences and the basic level of existing skills.

Planning creative activities.

Implementation of creative activities.

Analysis of achieved results (work with the cognitive strategy analysis sheet).

Planning the correction of your own activities in subsequent lessons.

Protecting your creative work.

Summarizing.

The technology for organizing learning is based on the child’s existing personal experience (cognitive preferences and established drawing skills), constantly setting and supporting the student’s authorial position, then moving on to mastering a set of strategies, while simultaneously introducing children to various types and areas of art. After children master key special strategies, it is necessary to move on to a more detailed analysis of works of art and deepen the “viewer” position.

In grades 3–4, the number of theoretical knowledge about art, show examples of world artistic culture, organize exchange effective strategies. At this stage, their reflection on the basis of the “strategy analysis sheet” has already become developed.

In the 4th grade, you can already use the strategy identification questionnaire to deepen the mechanisms of reflection and develop conscious control of your actions. After this, children should expand their knowledge of art theory and develop the position of “art historian” and “critic.” Already in the middle of 4th grade, it is important to organize personal exhibitions of children's works. At this stage, children not only continue to develop creative strategies, but also participate in project activities and complete more complex modeling projects. They also write audience essays, creative reviews, and “recommendations from the Master” (to each other). In middle and high school, they continue to participate in creative and research projects as part of the MHC course, in the lessons of which they can even more deeply realize the positions of “artist”, “researcher”, “tour guide”, “museum worker”. In constructing these lessons, it is important to avoid excessive theorizing and it is necessary to include children in complex activities, actively using project lessons, research lessons, laboratory lessons, workshop lessons, presentation lessons, excursion lessons. It is important to organize them so that the child is constantly involved in the creative process. You should not get carried away with lectures and slide presentations, which primarily focus on the reproductive activity of children.

It is necessary to begin teaching fine arts immediately by organizing the Vernissage lesson cycle, creating a gaming context. In conversations with children about the role of art and the artist, their purpose, types of activities, and art materials are discussed.

Already in the first lessons, you should begin preparing the first exhibition of children's work in the classroom. Students can choose any art material offered to them (charcoal, pencils, crayons, paints, etc.) in order to draw their own work “My Presentation”. It serves as the child’s entry into the positions “I am an artist” and “I am an author,” which represent a diagnosis of children’s existing skills and abilities. Based on its results, students, together with the teacher, can analyze what they did best and how they used certain expressive means. Such lessons must necessarily be self-knowledge for children.

Many students have never paid attention to how much they already know and can do. In the course of creative activity, it is useful for the teacher to set the framework for positive and high-quality feedback from children to themselves, to each other, and to the teacher to students. The result of these lessons should be an exhibition and its analysis. Each work should be praised, something special should be noted in it, using the “language of art” in feedback. In some works it is necessary to note interesting use colors. In others - “bold” lines or shapes, in others - the difficulty of the task. This entry into the world of art will be a wonderful motivation to continue studying.

The outcome of the first lessons should be a discussion of a joint action plan between the teacher and students for the next quarter or trimester (joint goal setting). It is here that the logic of further teaching basic competencies (general educational and special strategies) should be deployed.

The development of the foundations of self-organization should begin with an analysis of the organization of creative space by children. It is helpful to discuss all the important things that an “artist” does before he begins the creative process. Then organizing your own space in a playful way can become a creative project in which planning, preparation, implementation and defense of the results obtained, followed by analysis, correction and summing up, take place. Reflection on the basic rules of self-organization will help children in further learning not only in the educational process of this subject area. You should periodically return to organizing such lessons in order to achieve a sustainable and high-quality result. During such training, reproductive and productive activities can be skillfully combined.

It is useful to begin the development of special cognitive strategies with students analyzing the teacher’s actions, smoothly moving on to planning and analyzing students’ creative work.

In the educational model, the teacher must draw together with the children and have his own creative task. First, he draws as a demonstration of a sample analysis of simple actions with the obligatory commentary on the key elements of his own strategy. And then he does this in the course of the creative activity of schoolchildren, thus creating and maintaining cooperative relationships, constantly demonstrating equality of positions, realizing the role of “mentor”, “master”, “partner”, “coordinator”, avoiding any manifestations of dictatorship on his part .

After this, students, observing the creative activity of the teacher, can independently identify the composition of the main actions. And on this basis, plan your activities, use your own training in the process of creating creative work, followed by analysis and conclusions.

Each such lesson can be built around thematic complexes, in which the topic of the lesson is determined based on the development of a basic special cognitive strategy, taking into account all other logical levels. It is not the logic of educating children that should underlie thematic planning, but the logic of the development of basic educational competencies, the main core of which is cognitive strategies.

The development of the basics of self-regulation can be realized during the series of lessons “I and the world through the eyes of an artist.” As part of such activities, it is useful to discuss the following questions with children: what emotions are there, how are they expressed using the “language of art”, why and how does the author of a work of art create a special mood in the space of creative work? At the beginning of the implementation of this cycle of lessons, students should be given the opportunity to realize their negative and positive experiences in the process of creative activity, then teaching them ways to control their states and moods using submodal changes (color, light, shape, lines, etc.). In case of sufficient psychological preparation teachers, it is possible to carry out a certain diagnosis of simple children's problems in order to correct them.

Among creative tasks in this series of lessons, images can be used using paints of such basic emotions and states as sadness, fatigue, sadness, anger, lightness, joy, hope, expectation, anticipation, inspiration, surprise, insight, love, etc.

It is useful to build classes in integration with literature, music, and theater. For example, when discussing the concept of a creative work, constructing an image and choosing artistic means, it is useful to use an analogy with the art of music, minor and major music, and the emotional coloring of small musical works.

The development of perception of a work of art and taste must be built step by step, with a good understanding of their psychological foundations.

They represent a whole complex of microstrategies that are formed in the process of creative activity. Their use leads to the individual development of criteria for “beautiful” and “ugly”. And aesthetic criteria, in turn, are developed on the basis of an assessment of the obtained creative results in the position of the author and their correlation with the results of colleagues, the best examples of world artistic culture.

The practical implementation of these strategies is carried out largely due to personal awareness of the patterns and rules associated with the categories of “harmony” and “beauty”. These include patterns of combinations of light and shadow, relationships between different colors and shapes, laws of composition, perspective, etc.

Since perception and artistic taste are subjective processes, their development has, first of all, psychological foundations. The development and application of the highest aesthetic criteria and rules can only occur in training personally and personally. The ability to notice beauty develops only in the process own experience creative activity, sensory experience of art, and only then in contact with the great works of world artistic culture.

It is important to understand that the formation of these complex processes does not occur immediately, but as personal experience and reflection accumulate.

Many educators believe that by exposing children to various examples of creativity (or reproductions thereof) in a lecture, museum or art gallery, students can become interested in art. And if you explain to them the simplest “canons of art,” they will be able to independently develop aesthetic standards. This is why teachers are keen on slide presentations, lectures and trips to exhibitions and museums. Practice shows that this path does not help children perceive, understand and love art. Students, unfortunately, either do not know at all what to pay attention to, or do not have internal reasons to become deeply interested in the work.

Motivation is always based on the internal structure of experience, the highest logical levels. And they are formed and developed in practical activities. This tactic of involving children in art is similar to the manifestation of “verbalism” in memorizing a poetic work, which we considered when presenting our concept of teaching literature at the beginning of this chapter.

In order for a child to become interested in, for example, a painting from the Tretyakov Gallery collection, it is necessary that he already has sufficient experience in visual arts. Penetration into the space of a work is possible only if the child already has experience in creating and evaluating his own works or has well-developed perception and imagination. Most often, this requires at least initial acquaintance with the corresponding language of art. Using all these components together allows you to truly experience a work of art and give a personal meaning to what you perceive, which does not always happen even among adults who have no experience in visual arts. In addition, a deep perception of fine art is almost always intertwined with an analysis of everything that is depicted on the canvas. Depending on the experience of the “viewer,” all individual preferences and existing knowledge (and in the case of the artist, “professional filters”), values, and creative imagination will be used.

The basic strategy for perceiving and evaluating a work of art is based on the following components (listed in the order of implementation of the universal strategy):

1. Primary perception (visual coverage of the canvas, contemplation and examination).
2. Feeling the emotions of what you see.
3. Analysis of the plot and creation of a primary understanding of the work.
4. Analysis of the visual means used by the author of the work.
5. Perception and analysis of the symbolic series of the work.
6. Positional transitions in the space of the work: “author” – “spectator” – “hero of the work” – “hero of the era” – “some additional character”, etc.
7. Creating various variations of visual constructs regarding various elements of the picture: presenting the picture in other forms, colors, changing the composition, etc.
8. Feeling a rare emotion.
9. The correlation of what is seen in the space of the picture with one’s own experience and memories.
10. Creating your own understanding of the work, personal meaning.
11. Formulation of judgments to express one's own opinion.

It is no secret that even many adults who have more than one higher education and developed intelligence turn out to be indifferent to the perception and understanding of any types of art, for example, ballet and opera. Most often this is due to the fact that they do not have any personal experience and are not familiar with the language of these types of art. Therefore, when interacting with them, they do not have any special emotions or personal meaning in their perception; therefore, they have no interest in these types of art. The experience of teaching children in this area shows that most students are able to deeply experience involvement with art only if “the strings of their soul resonate” with what they saw or heard.

Therefore, it is first necessary to help the student gain experience in creative activity, developing analysis and reflection, then master the “language of art” and only after that organize visits to art galleries, exhibitions and museums - then they acquire a different meaning for the child. At the same time, it is important to carefully plan and think through children’s first “meetings” with masterpieces of world culture. It makes sense to prepare them for such “trips.” To begin with, it is useful to select a small number of works and set aside time for individual perception. It is helpful to have a conversation about “how one might look at a painting,” while recalling their experiences of seeing their own artwork in class. Based on the results of communication with each picture, it is necessary to arrange an exchange of opinions and a creative discussion. The teacher's comments should be final in such a discussion. You should not choose works that children will initially not understand. For example, many paintings are based on complex biblical stories or mythology, the knowledge of which children do not have or their knowledge of is too different.

As they develop their own experience of creative activity, master the laws of fine art, personal self-realization, perceive and analyze works of art, and evaluate them, schoolchildren begin to develop their own preferences and aesthetic criteria, which together lead to the development of their own artistic taste.

Methods of teaching artistic work have specific features determined by the cognitive activity of younger schoolchildren:

· the nature of technical processes and labor operations;

· development of polytechnic thinking, technical abilities;

· formation of generalizing polytechnic knowledge and skills.

A lesson in artistic work and fine arts is characterized by a classification of methods according to the methods of activity of the teacher and students, since in teaching these subjects two interrelated processes appear more clearly: the practical independent activity of students and the leadership role of the teacher.

Accordingly, the methods are divided into 2 groups:

1) Methods of independent work of students under the guidance of a teacher.

2) Methods of teaching and learning.

Teaching methods that are determined by the source of acquired knowledge, include 3 main types:

· verbal;

· visual;

· practical.

The formation of skills and abilities is associated with the practical activities of students. It follows from this that the methods of developing skills must be based on the type of activity of students.

By type of student activity(classification according to the type of cognitive activity by I.Ya. Lerner and M.N. Skatkin) methods are divided into:

· reproductive;

· partially search engines;

· problematic;

· research;

· explanatory and illustrative.

All of the above methods relate to methods of organizing educational and cognitive activities (classification by Yu.K. Babansky).

When considering the method of stimulating educational activity in art and fine arts lessons, it is effective to use the method of forming cognitive interest. Also, do not forget to use the method of control and self-control.

Methods of organizing and implementing educational and cognitive activities - a group of teaching methods aimed at organizing the educational and cognitive activities of students, identified by Yu.K. Babansky and includes all teaching methods existing according to other classifications in the form of subgroups.

1. Verbal teaching methods

Verbal methods allow you to convey a large amount of information in the shortest possible time, pose a problem to students and indicate ways to solve them. With the help of words, a teacher can evoke in the minds of children vivid pictures of the past, present and future of humanity. The word activates the imagination, memory, and feelings of students.

Verbal teaching methods include story, lecture, conversation, etc. In the process of using them, the teacher presents and explains educational material through words, and students actively absorb it through listening, memorizing and comprehension.

Story. The story method involves an oral narrative presentation of the content of educational material. This method is used at all stages of school education. In fine arts lessons, it is used by the teacher mainly to convey new information (interesting information from the life of famous artists), new requirements. The story must meet the following didactic requirements: be convincing, concise, emotional, and understandable for primary school students.

Very little time is allocated for the teacher’s story in art and fine arts lessons, and, therefore, its content should be limited to short, strictly correspond to the goals of the lesson and the practical work task. When using new terms in a story, the teacher should pronounce them expressively and write them down on the board.

Possibly several types of story :

o story-introduction;

o story - presentation;

o story-conclusion.

The purpose of the first is to prepare students to perceive new educational material, which can be carried out by other methods, such as conversation. This type of story is characterized by relative brevity, brightness, entertaining and emotional presentation, which makes it possible to arouse interest in a new topic and arouse the need for its active assimilation. During such a story, the tasks of the students’ activities in the lesson are communicated.

During the presentation story, the teacher reveals the content new topic, carries out the presentation according to a certain logically developing plan, in a clear sequence, highlighting the main thing, with illustrations and convincing examples.

A conclusion story is usually given at the end of the lesson. The teacher summarizes the main ideas, draws conclusions and generalizations, and gives assignments for further independent work on this topic.

When applying the story method, the following are used: methodological techniques such as: presentation of information, activation of attention, methods of accelerating memorization, logical methods of comparison, juxtaposition, highlighting the main thing.

Conditions for effective use the story is to carefully think through the plan, choose the most rational sequence for revealing the topic, successfully select examples and illustrations, and maintain the emotional tone of the presentation.

Conversation. Conversation is a dialogical teaching method in which the teacher, by posing a carefully thought-out system of questions, leads students to understand new material or checks their understanding of what has already been learned.

Conversation is one of the oldest methods of didactic work. It was masterfully used by Socrates, from whose name the concept of “Socratic conversation” originated.

In art and visual arts classes, storytelling often turns into conversation. The conversation has the goal of obtaining new knowledge and consolidating it through the oral exchange of thoughts between teacher and student. Conversation helps to activate children's thinking and is more convincing when combined with a demonstration of natural objects and their image.

Depending on the specific tasks, the content of the educational material, the level of creative cognitive activity of students, the place of conversation in the didactic process, there are different types of conversations .

Widespread in teaching fine arts and artistic work is heuristic conversation(from the word “eureka” - I find, I open). During a heuristic conversation, the teacher, relying on the students’ existing knowledge and practical experience, leads them to understand and assimilate new knowledge, formulate rules and conclusions.

Used to communicate new knowledge informative conversations. If a conversation precedes the study of new material, it is called introductory or introductory. The purpose of such a conversation is to induce in students a state of readiness to learn new things. The need for an ongoing conversation may arise during practical work. Through question and answer, students receive Additional information. Reinforcing or final conversations are used after learning new material. Their purpose is to discuss and evaluate students' work.

During the conversation, questions can be addressed to one student ( individual conversation) or students of the whole class ( frontal conversation).

Requirements for conducting interviews.

The success of conversations largely depends on the correctness of asking questions. Questions are asked by the teacher to the whole class so that all students are prepared to answer. Questions should be short, clear, meaningful, and formulated in such a way as to awaken the student’s thoughts. You should not ask double, suggestive questions or encourage guessing the answer. Should not be formulated alternative questions, requiring unambiguous answers like “yes” or “no”.

In general, the conversation method has the following advantages : activates students, develops their memory and speech, makes students’ knowledge open, has great educational power, and is a good diagnostic tool.

Disadvantages of the conversation method : requires a lot of time, requires a stock of knowledge.

Explanation. Explanation is a verbal interpretation of patterns, essential properties of the object being studied, individual concepts, phenomena.

In fine arts and artistic lessons, the explanation method can be used in the introductory part of the lesson to familiarize yourself with the execution of various seams, together with a demonstration of the product, when becoming familiar with various techniques of working with a brush, etc.

When preparing for work, the teacher explains how to rationally organize the workplace; when planning, explains how to determine the sequence of operations.

In the process of explanation, the teacher introduces students to the properties of materials and the purpose of tools, rational labor actions, techniques and operations, new technical terms (in artistic lessons); with techniques for working with a brush and the sequence of drawing, constructing objects (in drawing lessons).

Requirements for the explanation method. Using the method of explanation requires an accurate and clear formulation of the task, the essence of the problem, the question; consistent disclosure of cause-and-effect relationships, reasoning and evidence; the use of comparison, juxtaposition and analogy; attracting vivid examples; impeccable logic of presentation.

Discussion. Discussion as a teaching method is based on the exchange of views on a particular issue, and these views reflect the participants’ own opinions or are based on the opinions of others. This method is advisable to use when students have a significant degree of maturity and independence of thinking, and are able to argue, prove and substantiate their point of view. It also has great educational value: it teaches you to see and understand a problem more deeply, to defend your position in life, and to take into account the opinions of others.

This method is more suitable for use in high school. But if elementary school students have the above traits (strong classes), then it makes sense to start introducing this method (for example, when getting to know the work of artists, namely their works).

Briefing. This method is understood as an explanation of methods of labor actions, their accurate demonstration and safe execution (artistic labor).

Types of instruction:

· By time:

Introductory - carried out at the beginning of the lesson, includes the formulation of a specific work task, a description of operations is given, and an explanation of working techniques is provided.

Current - carried out during practical activities, includes explaining the mistakes made, finding out the reasons, shortcomings of the work, correcting errors, explaining the correct techniques, and conducting self-control.

Final - includes an analysis of work, a description of mistakes made in the work, and grading students’ work.

· By student coverage: individual, group, classroom.

· According to the form of presentation: oral, written, graphic, mixed.

2. Visual teaching methods

Visual teaching methods are understood as those methods in which the assimilation of educational material is significantly dependent on the visual aids and technical means used in the learning process.

Visual methods are used in conjunction with verbal and practical teaching methods.

Visual teaching methods can be divided into: 2 large groups :

· illustration method;

· demonstration method.

Demonstration(lat. demonstratio - showing) - a method expressed in showing various visual aids to the whole class during the lesson.

The demonstration consists of a visual and sensory familiarization of students with phenomena, processes, and objects in their natural form. This method serves primarily to reveal the dynamics of the phenomena being studied, but is also widely used to become familiar with the appearance of an object, its internal structure or location in a series of homogeneous objects. When demonstrating natural objects, they usually start with the appearance (size, shape, color, parts and their relationships), and then move on to the internal structure or individual properties that are specially highlighted and emphasized (the operation of the device, etc.). Demonstration of works of art, clothing samples, etc. also begins with holistic perception. The display is often accompanied by a schematic sketch of the objects considered. Demonstration of experiments is accompanied by drawing on the board or showing diagrams that facilitate understanding of the principles underlying the experiment.

This method is truly effective only when students themselves study objects, processes and phenomena, perform the necessary measurements, establish dependencies, due to which an active cognitive process is carried out - things, phenomena, and not other people’s ideas about them are comprehended.

The objects of demonstration are : visual aids of a demonstrative nature, pictures, tables, diagrams, maps, transparencies, films, models, layouts, diagrams, large natural objects and preparations, etc.;

Demonstration is used by the teacher primarily when studying new material, as well as when generalizing and repeating material already studied.

Conditions for the effectiveness of the demonstration are: carefully thought out explanations; ensuring good visibility of the demonstrated objects to all students; wide involvement of the latter in the preparation and conduct of the demonstration.

Illustration as a method of educational interaction is used by the teacher in order to create in the minds of students, using visual aids, an accurate, clear and precise image of the phenomenon being studied.

Main function illustration consists in figuratively recreating the form, essence of a phenomenon, its structure, connections, interactions to confirm theoretical positions. It helps to bring into a state of activity all analyzers and the associated mental processes of sensation, perception, and representation, as a result of which a rich empirical basis arises for the generalizing-analytical mental activity of children and teachers.

Illustrations are used in the teaching of all academic subjects. Natural and artificially created objects are used as illustrations: layouts, models, dummies; works of fine art, fragments of films, literary, musical, scientific works; symbolic aids such as maps, diagrams, graphs, diagrams.

The educational result of using illustrations is manifested in ensuring the clarity of the initial perception of the subject being studied by students, on which all subsequent work and the quality of assimilation of the studied material depend.

This division of visual aids into illustrative or demonstrative is conditional; it does not exclude the possibility of classifying certain visual aids as both illustrative and demonstrative (for example, showing illustrations through an epidiascope or overhead projector). The introduction of new technical means into the educational process (video recorders, computers) expands the possibilities of visual teaching methods.

In an art lesson, students make most of their products based on graphic images. These include:

An artistic drawing is a real image of an object, used if the object itself cannot be shown due to its absence, small or large size; makes it possible to identify material and color (used in art and fine arts lessons);

Technical drawing - a graphic image that is made arbitrarily, by hand, using drawing and measuring tools; all structural elements are conveyed with approximate preservation of dimensions and proportions (used in art classes);

A sketch is a conventional reflection of an object, which is made without the use of drawing and measuring tools with approximate preservation of dimensions and proportions (used in art and fine arts lessons);

Drawing - a graphic representation of an object using drawing and measuring objects on a certain scale, with precise preservation of dimensions, using methods of parallel proportions, contains data on the size and shape of the object (used in art classes);

A technical map is an image on which there may be a drawing of the product, tools, materials and devices may be indicated, but there is always a sequence of operations and work methods (used in art classes).

Requirements for using visual methods: the visualization used must be appropriate for the age of the students; visualization should be used in moderation and should be shown gradually and only at the appropriate moment in the lesson; observation should be organized in such a way that all students can clearly see the object being demonstrated; it is necessary to clearly highlight the main, essential things when showing illustrations; think through in detail the explanations given during the demonstration of phenomena; the demonstrated clarity must be precisely consistent with the content of the material; involve the students themselves in finding the desired information in a visual aid or demonstration device.

The peculiarity of visual teaching methods is that they necessarily involve, to one degree or another, a combination with verbal methods. The close relationship between words and visualization follows from the fact that “the dialectical path of cognition of objective reality involves the use of living contemplation, abstract thinking and practice in unity.”

There are various forms of connection between words and visuals. But it would be a mistake to give any of them complete preference, since depending on the characteristics of the learning objectives, the content of the topic, the nature of the available visual aids, as well as the level of preparedness of the students, it is necessary in each specific case to choose their most rational combination.

The use of visual teaching methods in technology lessons is limited by the minimal use of verbal teaching methods.

3. Practical teaching methods

Practical teaching methods are based on the practical activities of students. These methods form practical skills. Practical methods include exercises and practical work.

Exercises. Exercises are understood as repeated (multiple) performance of a mental or practical action in order to master it or improve its quality. Exercises are used in the study of all subjects and at various stages of the educational process. The nature and methodology of the exercises depends on the characteristics of the subject, the specific material, the issue being studied and the age of the students.

Exercises by their nature they are divided on the:

· oral;

· written;

· training and labor;

· graphic.

When performing each of them, students perform mental and practical work.

By degree of independence students while performing the exercise allocate :

· exercises to reproduce the known for the purpose of consolidation;

· reproducing exercises;

· exercises on applying knowledge in new conditions-training exercises.

If, while performing actions, a student speaks to himself or out loud and comments on upcoming operations, such exercises are called commented exercises. Commenting on actions helps the teacher detect common mistakes and make adjustments to students’ actions.

Features of the use of exercises.

Oral exercises contribute to the development logical thinking, memory, speech and attention of students. They are dynamic and do not require time-consuming record keeping.

Writing exercises are used to consolidate knowledge and develop skills in its application. Their use contributes to the development of logical thinking, written language culture, and independence in work. Written exercises can be combined with oral and graphic exercises.

To graphic exercises include student work on drawing up diagrams, drawings, graphs, posters, stands, etc.

Graphic exercises are usually performed simultaneously with written ones.

Their use helps students better perceive, comprehend and remember educational material, and contributes to the development of spatial imagination. Graphic work, depending on the degree of independence of students in their implementation, can be of a reproductive, training or creative nature.

Exercises are effective only if a number of rules are followed.

Requirements for the exercise method: students’ conscious approach to their implementation; compliance with the didactic sequence in performing exercises - first, exercises for memorizing and memorizing educational material, then - for reproduction - for the application of previously learned - for independent transfer of what has been learned to non-standard situations - for creative application, which ensures the inclusion of new material in the system of already acquired knowledge , skills and abilities. Problem-search exercises that develop students’ ability to guess and intuition are also extremely necessary.

At the artistic labor lesson, students, together with polytechnic knowledge, master general labor polytechnic skills: equip a place, design a labor product, plan the labor process, carry out technological operations.

When using practical methods, skills and abilities are formed.

Actions techniques operations skills skills.

Actions are carried out by students at a slow pace with careful consideration of each element performed.

Techniques require further understanding and improvement in the process of special exercises.

Operations are combined techniques.

Skills - knowledge that is applied in practice, understood as the conscious performance of students specified actions with the choice of the right methods of work, but knowledge may not be brought to the level of skills.

Skills are actions that have been brought to a certain extent to automaticity and are performed in ordinary standard situations.

Skills are developed through repeated exercises of the same type without changing the type of activity. During work, the teacher focuses on developing children's work skills. Skills are demonstrated by a person’s actions in an unfamiliar situation. To develop skills, various exercises are carried out that allow you to transfer the method of action to a new situation.

During art lessons, primary school students develop three main groups of skills:

1. Polytechnic skills - measuring, computing, graphic, technological.

2. General labor skills - organizational, design, diagnostic, operator.

3. Special labor skills - processing different materials in different ways.

4. The formation of skills is always associated with practical activities.

This is a brief description of teaching methods, classified according to sources of knowledge. The main disadvantage of this classification is that it does not reflect the nature of students’ cognitive activity in learning, nor does it reflect the degree of their independence in academic work. However, it is this classification that is most popular among practicing teachers, methodologists, and is used in technology and fine arts lessons.

4. Reproductive teaching methods

The reproductive nature of thinking involves the active perception and memorization of educational information communicated by a teacher or other source. The use of these methods is impossible without the use of verbal, visual and practical teaching methods and techniques, which are, as it were, the material basis of these methods. These methods are mainly based on transmitting information using words, demonstrating natural objects, drawings, paintings, and graphic images.

To achieve a higher level of knowledge, the teacher organizes children’s activities to reproduce not only knowledge, but also methods of action.

In this case, much attention should be paid to instruction with demonstration (in art lessons) and an explanation of the sequence and techniques for working with demonstration (in fine arts lessons). When performing practical tasks, reproductive, i.e. Children's reproductive activity is expressed in the form of exercises. The number of reproductions and exercises when using the reproductive method is determined by the complexity of the educational material. It is known that in elementary grades children cannot perform the same training exercises. Therefore, you should constantly introduce elements of novelty into the exercises.

When constructing a story reproductively, the teacher formulates facts, evidence, definitions of concepts in a ready-made form, and focuses on the main thing that needs to be learned especially firmly.

A reproductively organized conversation is conducted in such a way that the teacher during it relies on facts already known to the students, on previously acquired knowledge and does not set the task of discussing any hypotheses or assumptions.

Practical work of a reproductive nature is distinguished by the fact that during the course of it, students apply previously or just acquired knowledge according to a model.

At the same time, during practical work, students do not independently increase their knowledge. Reproductive exercises are especially effective in facilitating the development of practical skills, since the transformation of a skill into a skill requires repeated actions according to a model.

Reproductive methods are used especially effectively in cases where the content of educational material is primarily informative, represents a description of methods of practical action, is very complex or fundamentally new so that students can carry out an independent search for knowledge.

In general, reproductive teaching methods do not allow adequate development of schoolchildren’s thinking, and especially independence and flexibility of thinking; to develop students' search skills. When used excessively, these methods contribute to the formalization of the process of acquiring knowledge, and sometimes simply to cramming. Reproductive methods alone cannot successfully develop such personality qualities as a creative approach to work and independence. All this does not allow them to be actively used in technology lessons, but requires the use, along with them, of teaching methods that ensure the active search activity of schoolchildren.

5. Problem-based teaching methods.

The problem-based teaching method involves the formulation of certain problems that are solved as a result of the creative and mental activity of students. This method reveals to students the logic of scientific knowledge; By creating problematic situations, the teacher encourages students to build hypotheses and reasoning; By conducting experiments and observations, it makes it possible to refute or confirm the assumptions made, and independently draw informed conclusions. In this case, the teacher uses explanations, conversations, demonstrations, observations and experiments. All this creates a problematic situation for students, involves children in scientific research, activates their thinking, forces them to predict and experiment. But it is necessary to take into account the age characteristics of children.

The presentation of educational material by the method of a problem story assumes that the teacher, in the course of presentation, reflects, proves, generalizes, analyzes facts and leads the thinking of students, making it more active and creative.

One of the methods of problem-based learning is heuristic and problem-search conversation. During the course, the teacher poses a series of consistent and interrelated questions to the students, answering which they must make some assumptions and then try to independently prove their validity, thereby making some independent progress in mastering new knowledge. If during a heuristic conversation such assumptions usually concern only one of the main elements of a new topic, then during a problem-search conversation students resolve a whole series problem situations.

Visual aids for problem-based teaching methods are no longer used only to enhance memorization, but also to set experimental tasks that create problematic situations in the classroom.

Problem-based methods are used primarily for the purpose of developing skills through educational and cognitive creative activities; they contribute to a more meaningful and independent acquisition of knowledge.

This method reveals to students the logic of scientific knowledge. Elements of problem-based methodology can be introduced in art lessons in 3rd grade.

Thus, when modeling boats, the teacher demonstrates experiments that pose certain problems for the students. Place a piece of foil in a glass filled with water. Children observe that the foil sinks to the bottom.

Why does foil sink? Children hypothesize that foil is a heavy material, so it sinks. Then the teacher makes a box out of foil and carefully lowers it into the glass upside down. Children observe that in this case the same foil is held on the surface of the water. This creates a problematic situation. And the first assumption that heavy materials always sink is not confirmed. This means that the problem is not in the material itself (foil), but in something else. The teacher suggests carefully looking again at the piece of foil and the foil box and establishing how they differ. Students establish that these materials differ only in shape: a piece of foil has a flat shape, and a foil box has a three-dimensional hollow shape. What are hollow objects filled with? (By air). And air has little weight.

It's light. What can be concluded? (Hollow objects, even made from heavy materials like metal, filled with (light (air) do not sink.) Why don’t large sea ships made of metal sink? (Because they are hollow) what happens if a foil box is pierced with an awl? (She will sink.) Why? (Because it will fill with water.) What will happen to the ship if its hull gets a hole and fills with water? (The ship will sink.)

Thus, the teacher, creating problem situations, encourages students to build hypotheses, conducting experiments and observations, gives students the opportunity to refute or confirm the assumptions made, and independently draw informed conclusions. In this case, the teacher uses explanations, conversations, demonstrations of objects, observations and experiments.

All this creates problematic situations for students, involves children in scientific research, activates their thinking, forces them to predict and experiment. Thus, the problematic presentation of educational material brings the educational process in a secondary school closer to scientific research.

The use of problem-based methods in art and fine arts lessons is most effective for intensifying activities to resolve problem situations and educational and cognitive activities of students.

6. Partial search method of teaching

The partial search or heuristic method received this name because students cannot always solve a complex problem and therefore part of the knowledge is imparted by the teacher, and part they obtain on their own.

Under the guidance of the teacher, students reason, solve emerging cognitive situations, analyze, and compare. As a result, they develop conscious knowledge.

To develop independence and creative initiative, the teacher uses various techniques.

During labor lessons at the first stage, children complete tasks using technological maps with a detailed description of operations and work methods. Then technological maps are drawn up with partially missing data or steps. This forces children to independently solve some tasks that are feasible for them.

Thus, in the process of partial search activity, students first get an idea of ​​the product, then plan the sequence of work and carry out technological operations to implement projects into a finished product.

In fine arts lessons, as an example of using a partial search method of teaching, you can plan the work in such a way that the first stage is to get an idea of ​​the subject itself, then draw up a sequence for drawing it (the stages shown on the board are arranged in correct sequence, fill in the missing steps of the sequence, etc.).

7. Research method of teaching

The research method should be considered as the highest level of creative activity of students, in the process of which they find solutions to problems that are new to them. The research method develops in students knowledge and skills that are highly transferable and can be applied in new work situations.

The use of this method brings the learning process closer to scientific research, where students become acquainted not only with new scientific truths, but also with the methodology of scientific research.

Naturally, the content of the research method in science differs from the research method in teaching. In the first case, the researcher reveals new, previously unknown phenomena and processes to society; in the second, the student discovers phenomena and processes only for himself, which are not new to society. In other words, in the first case, discoveries are carried out on a social level, and in the second - on a psychological level.

The teacher, posing a problem for students to independently study, knows both the result and the solutions and types of activities that lead the student to the correct solution to the problem posed. Thus, the research method in school does not pursue the goal of making new discoveries. It is introduced by the teacher in order to develop in students the character traits necessary for further creative activity.

Let's look at a specific example of the elements of the research method.

In an art lesson, the teacher sets the children the task of choosing paper for making a boat, which should have the following characteristics: good coloring, dense, durable, thick. Each student has at his disposal samples of writing, newspaper, drawing, household (consumer) paper and tracing paper, brushes, and jars of water. In the process of simple research, from the available types of paper, the student selects paper for making the body of a boat model that has all the listed characteristics. Let's say that the first student begins to check the sign of colorability. By running a brush with paint over samples of writing, newspaper, drawing, consumer paper and tracing paper, the student establishes that writing, drawing, consumer paper and tracing paper are thick papers, while newspaper paper is loose. The student concludes that newsprint is not suitable for the hull of a boat. By tearing the available paper samples, the student establishes that writing and consumer paper is fragile. This means that these types are not suitable for making a boat hull.

Next, the student carefully examines the remaining types of paper - drawing and tracing paper - and establishes that drawing paper is thicker than tracing paper. Therefore, to make the hull of the boat it is necessary to use drawing paper. This paper has all the necessary features: it is easy to color, dense, durable, thick. Checking the types of paper should begin with a sign of strength. After this test, the student would have only two types of paper at his disposal: tracing paper and drawing paper. Checking the thickness feature allowed the student to immediately select the drawing paper needed for the boat from the remaining two types. When using the research method, as the considered example of paper selection shows, the student is not given a ready-made solution to the problem. In the process of observations, tests, experiments, and simple research, the student independently comes to generalizations and conclusions. The research method actively develops students' creative abilities and introduces schoolchildren to the elements of scientific research.

The research method actively develops the creative abilities of students and introduces them to the elements of scientific research.

8. Explanatory and illustrative teaching method

Explanatory-illustrative, or information-receptive methods include story, explanation, work with textbooks, demonstration of pictures (verbal, visual, practical).

The teacher communicates ready-made information through various means, and the students perceive it and record it in memory.

However, when using this method, the skills and abilities to use the acquired knowledge are not formed. Knowledge is presented in a ready-made form.

This method of teaching fine arts and artistic work will be effective if you do not use this method in its only form. When this method is combined with others, for example, partial search, research, reproductive, problem, practical, students will actively work, they will develop thinking, attention, and memory.

9. Methods of independent work

Methods of independent work and work under the guidance of a teacher are distinguished based on an assessment of the degree of independence of students in carrying out educational activities, as well as the degree of control of this activity by the teacher.

When a student carries out his activities without direct guidance from the teacher, they say that the method of independent work is used in the educational process. When methods are used with active control of students' actions on the part of the teacher, they are classified as teacher-led teaching methods.

Independent work is carried out both on the instructions of the teacher with mediocre management, and on the student’s own initiative, without instructions or instruction from the teacher.

By using various types of independent work, students need to develop: some of the most general techniques for its rational organization, the ability to rationally plan this work, clearly set a system of tasks for the upcoming work, identify the main ones among them, skillfully choose the fastest and most economical methods for solving the tasks, skillful and operational self-control over the completion of a task, the ability to quickly make adjustments to independent work, the ability to analyze the overall results of the work, compare these results with those planned at the beginning of it, identify the causes of deviations and outline ways to eliminate them in further work.

In fine arts and artistic lessons, to increase the efficiency of the learning process, as well as to achieve all the goals set, these methods are used almost constantly in combination with the other methods listed above. The choice of methods depends on the content of the educational material, the age and individual characteristics of the students, etc.

10. Methods of stimulating the educational activities of schoolchildren in the learning process. Methods for forming cognitive interest

Interest in all its types and at all stages of development is characterized by:

Positive emotions towards the activity;

· the presence of the cognitive side of these emotions;

· the presence of a direct motive coming from the activity itself.

In the learning process, it is important to ensure the emergence of positive emotions in relation to the learning activity, its content, forms and methods of implementation. The emotional state is always associated with the experience of emotional excitement: response, sympathy, joy, anger, surprise. That is why deep internal experiences of the individual are connected to the processes of attention, memorization, and comprehension in this state, which make these processes intense and therefore more effective in terms of achieved goals.

One of the techniques included in the method of emotional stimulation of learning is the technique of creating entertaining situations in the lesson - introducing entertaining examples, experiments, and paradoxical facts into the educational process.

Entertaining analogies also serve as a technique included in the methods of forming interests in learning; for example, when considering an airplane wing, analogies are drawn with the shape of the wings of a bird or dragonfly.

Emotional experiences are caused by using the technique of surprise.

The unusualness of the given fact, the paradoxical nature of the experience demonstrated in the lesson, the grandeur of the numbers - all this invariably causes deep emotional experiences in schoolchildren.

One of the stimulation methods is to compare scientific and everyday interpretations of individual natural phenomena.

To create emotional situations during lessons, the artistry, brightness, and emotionality of the teacher’s speech are of great importance. This once again demonstrates the difference between the methods of organizing cognitive activity and the methods of stimulating it.

Educational games . Play has long been used as a means of stimulating interest in learning.

During the educational and educational period of age, teaching and upbringing should be the main interest of a person’s life, but for this, the student must be surrounded by a favorable sphere. If everything that surrounds the pupil pulls him away from the teaching in a completely opposite direction, then all the efforts of the mentor to instill in him respect for the teaching will be in vain.

That is why education is so rarely successful in those rich, high-society houses where a boy, having escaped from a boring classroom, hurries to prepare for a children's ball or a home performance, where much more lively interests await him, which prematurely captured his young heart.

As we see, the great Russian teacher Konstantin Dmitrievich Ushinsky, saying that only small children can be taught through play, nevertheless wants to interest older children in learning. But how can one instill a love of learning if not through play?

It is difficult for teachers: after all, you cannot force a student to do something that is not interesting to him. And the child will not be able to repeat the same exercise dozens of times for the sake of a distant goal that is not entirely clear to him. But play all day long - please! Play is a natural form of his existence. Therefore, it is necessary to teach in such a way that the lessons delight, captivate, and amuse the children.

Teaching fine arts and artistic work is impossible without the use of various kinds of game situations in the classroom, with the help of which the teacher develops specific skills in students. A clearly limited educational task of the task allows the teacher to accurately and objectively assess the quality of students’ mastery of the material.

To maintain the productive performance of children throughout the lesson, various cognitive situations and games and activities should be introduced into their activities, since mastering the subject is easier if different analyzers are involved.

Alternating all types of activities during a lesson makes it possible to use educational time more rationally, increase the intensity of schoolchildren’s work, ensure the continuous learning of new things and consolidation of the material covered.

Didactic exercises and game moments included in the system of pedagogical situations arouse in children a special interest in understanding the world around them, which has a positive effect on their productive visual activity and attitude towards classes.

It is advisable to use didactic exercises and game situations in those lessons where understanding the material is difficult. Studies have shown that during play situations, a child’s visual acuity increases significantly.

Games, playful moments, elements of fairy tales serve as a psychological stimulator of neuropsychological activity and potential perception abilities. L.S. Vygotsky very subtly noted that “in play, a child is always above his usual behavior; In the game he seems to be head and shoulders above himself.”

Games promote understanding of the design features of the shape of objects, develop the ability to compare, find optimal solutions, and develop thinking, attention, and imagination.

For example:

1. Make images of individual objects from geometric shapes.

Using the geometric shapes shown on the board, students draw objects in albums (as a variant of this exercise - individual tasks for each student).

2. Make compositions from ready-made silhouettes “Whose composition is better?”

Create a still life from ready-made silhouettes. The game can be played as a competition between two (three) teams. Work is carried out on a magnetic board. The game develops compositional thinking and the ability to find optimal solutions.

Including game moments in lessons allows you to correct the psychological state of students. Children perceive psychotherapeutic moments as a game, and the teacher has the opportunity to promptly change the content and nature of tasks depending on the situation.

Educational discussions. Methods of stimulating and motivating learning include creating a situation of cognitive dispute. The controversy is generating increased interest in the topic. Some teachers skillfully use this method of enhancing learning. Firstly, they use historical facts of the struggle between different scientific points of view on a particular issue. Involving students in situations of scientific disputes not only deepens their knowledge on relevant issues, but also involuntarily attracts their attention to the topic, and on this basis causes a new surge of interest in learning.

Teachers also create educational discussions while studying ordinary educational issues in any lesson. For this purpose, students are specifically invited to express their opinions about the causes of this or that phenomenon, and to substantiate this or that point of view.

Creating situations for success in learning. One of the effective methods of stimulating interest in learning is to create situations of success in the educational process for schoolchildren who experience certain difficulties in learning. It is known that without experiencing the joy of success it is impossible to truly count on further success in overcoming educational difficulties. Situations of success are also created by differentiating assistance to schoolchildren in completing educational tasks of the same complexity. Situations of success are organized by the teacher by encouraging intermediate actions of schoolchildren, that is, by specially encouraging him to make new efforts.

An important role in creating a situation of success is played by ensuring a favorable moral psychological atmosphere during the performance of certain educational tasks. A favorable microclimate during study reduces feelings of uncertainty and fear. The state of anxiety is replaced by a state of confidence.

Here is another important thing in order to lead students to good results learning.

If we want a student’s work to be successful, so that he can deal with difficulties and in the future acquire more and more positive traits in his work, then for this we need to imagine what contributes to the success of work and what causes failure. A huge role in success is played by the mood, the general cheerful state of mind of the students, that efficiency and calm, so to speak, liveliness, which form the pedagogical basis of any successful work of the school. Everything that creates a boring atmosphere - despondency, hopelessness - all of this is a negative factor in the successful work of students. Secondly, the teacher’s teaching method itself is of great importance: usually our classroom method of teaching, such that students work in the same method and on the same topic, very often leads to the fact that the class is stratified: a certain number of students , for which the method proposed by the teacher is suitable, succeeds, while the other part, for which a slightly different approach is needed, lags behind. Some students have a fast pace of work, while others have a slow pace; Some students grasp the appearance of the forms of work, while others must thoroughly understand everything before even starting to work.

If students understand that all the teacher’s efforts are aimed at helping them, then cases of mutual assistance that are very valuable for work in the classroom may appear in their environment, cases of students turning to the teacher for help will be increased, the teacher will advise more than give directives and put forward a demand and, in the end, the teacher himself will learn to really help both the whole class and each student individually.

When we observe a student’s work, when we approach him with our instructions, demands or advice, then we must know what a huge role is played by arousing the student’s interest in work, and it is accounting that should stimulate the student’s work, i.e. taking into account the student’s work should arouse his interest in the work.

To whom, if not to his senior friend, the teacher, will a student turn for help? And we must help them understand a lot of things - in various life situations, in themselves, in all kinds of conflicts. But becoming such a friend is not easy. In order to gain authority and respect from your students, you need to understand your students well, to see in them not only future masters to whom you pass on your experience, but, above all, in each one - a Person, a Personality. If you manage to gain respect and authority from your students, this is great happiness for the teacher.

The main sources of interest in educational activities include the creation of a situation of novelty, relevance, bringing the content closer to the most important discoveries in science, technology, and the achievements of modern culture, art, and literature. For this purpose, teachers select special techniques, facts, illustrations that this moment are of particular interest to the entire public of the country. In this case, students are much more clearly and deeply aware of the importance and significance of the issues being studied and therefore treat them with great interest, which allows them to be used to increase the activation of the cognitive process in technology lessons.

11. Methods of control and self-control in training

Oral control methods. Oral control is carried out through individual and frontal questioning. During an individual survey, the teacher asks the student several questions, answering which he shows the level of mastery of the educational material. With a frontal survey, the teacher selects a series of logically interconnected questions and puts them in front of the whole class, calling on certain students for a brief answer.

Methods of self-control. An essential feature of the modern stage of improving control at school is the comprehensive development in students of self-monitoring skills over the degree of assimilation of educational material, the ability to independently find mistakes and inaccuracies, and outline ways to eliminate detected gaps, which is especially used in technology lessons.

Conclusions. All the main methods of teaching fine arts have been listed above. The effectiveness of their use will be achieved only if integrated use these methods.

A primary school teacher should give preference to methods that make work active and interesting, introduce elements of play and entertainment, problem-solving and creativity.

The comparative capabilities of teaching methods allow for adequate development of age, mental and physical strength, existing experience in educational work, educational training of students, developed educational skills and abilities, development of thought processes and types of thinking, etc. use them at different levels and stages of training.

It is always important to remember and take into account the age-related characteristics of the psychological and mental development of children.

The observation method underlies the entire system of teaching fine arts. The success of the development of their creative abilities depends on how well children develop their ability to observe their surroundings, establish connections between phenomena of reality, and identify the general and the individual.
But observations before class alone will not fully ensure the possibility of depicting what was seen. It is necessary to teach the child special techniques of depiction, ways of using various visual materials. Only in the process of systematic learning in the classroom are children’s abilities fully formed.
In kindergarten, visual arts classes use a variety of methods and techniques, which can be divided into visual and verbal. A special group of techniques specific to kindergarten consists of gaming techniques. They combine the use of visuals and the use of words.
The teaching method, according to the definition accepted in pedagogy, is characterized by a unified approach to solving a given task and determines the nature of all activities of both the child and the teacher in a given lesson.
A teaching method is a more private, auxiliary means that does not determine all the specifics of activity in the lesson, but has only a narrow educational significance.
Sometimes individual methods can act as only a technique and not determine the direction of work in the lesson as a whole. For example, if reading a poem (story) at the beginning of a lesson was intended only to arouse interest in the task and attract the attention of children, then in this case the reading served as a technique to help the teacher in solving a narrow task - organizing the beginning of the lesson.

Visual teaching methods and techniques

Visual methods and techniques of teaching include the use of nature, reproductions of paintings, samples and other visual aids; examination of individual objects; demonstration by the teacher of image techniques; display of children's work at the end of the lesson, during their assessment.
In fine art, life is understood as an object or phenomenon that is depicted through direct observation. Working from life involves depicting an object from a certain point of view, in the position in which it is in relation to the eye of the artist. This feature of the image from nature also determines the originality of perception during the lesson. The main thing here will be visual perception, and when depicted on a plane (drawing, appliqué), the object is perceived only from one side; When modeling and designing, children should be able to rotate the nature and analyze the three-dimensional form in various turns.
The ability to perceive an object in the totality of its qualities is already characteristic of a child of primary preschool age. However, the need to depict an object from life requires the ability to analyze the relationship of parts and their location in space. Psychologists believe that a preschool child is capable of such analytical-synthetic perception only under the condition of proper pedagogical guidance.
Let us note some features of the use of nature in working with preschool children.
Nature, first of all, facilitates the work of memory, since the process of imagery is combined with perception; helps the child to correctly understand and convey the shape and structure of an object, its color. Despite the ability of 4-5 year old children to make a simple analysis of image objects, working from life at this age has its differences from the use of nature by schoolchildren and artists.
When perceiving an object, the child must show its volume (give a two-dimensional image of a three-dimensional nature on a plane), which is associated with the use of light and shade, conveying perspective changes in the object, and showing complex angles. These image techniques are not available to preschoolers. Therefore, objects of simple shape that have clear outlines and divisions of parts are selected as nature for them.
The nature is placed so that all children perceive it from the most characteristic side. The teacher should examine nature in detail with the children, guiding and facilitating the process of analysis with words and gestures. This process requires a certain culture of perception and developed analytical thinking. Such skills begin to develop in children 5-6 years old. At this age, they learn to compare and correct their work when drawing in accordance with nature. For example, in the older group, when depicting a spruce branch from life, children convey the location of the branch in space (oblique or vertical), the number and size of branches on the left and right, and draw thick needles in a dark or light tone.
Leaves, branches, flowers, fruits, as well as toys depicting people, animals, and vehicles can be used as nature.
It is not recommended to use live birds and animals as nature. Their movements and sounds will distract children from drawing and will not allow them to focus on perceiving the object in the desired position.
Thus, the use of nature as a teaching method covers the entire process of depiction: initial analysis of the subject, comparison of the image with nature in shape, position, color, evaluation of the results of the work by comparing the drawing and nature.
Sometimes nature can be used as a private technique and not affect the nature of the lesson as a whole. For example, in the process of drawing according to plan, a child asks for help in depicting an object. The teacher places in front of the child the necessary toy, which is used as a model. In general, the work on the image will be determined by the content of the plan. Nature will only help to implement it better. Examination In junior and middle groups, individual subjects are often shown at the beginning of classes. Children's examination of a ball, ribbons, shovel, etc. is carried out in order to attract children's attention to the task and revive their ideas. During the rest of the lesson, children draw from ideas and do not return to the perception of objects.
In the older group, there is also a need to introduce some items for consideration. For example, before drawing or sculpting on the theme of the fairy tale “The Three Bears,” the teacher invites children to examine a toy bear, highlight the features of the shape and proportions of individual parts, and trace the change in their location depending on the rotation of the object. Each child depicts a bear in the position that corresponds to the episode chosen for the drawing.
A model, like nature, can act as a method and as a separate teaching technique.
In those types of visual activities where the main goal is not to consolidate impressions from the perception of the environment, but the tasks are to develop individual aspects of this activity (usually in decorative and constructive works), the model is used as a teaching method.
So, the main goal of the classes decorative painting and appliqué - learning how to create a pattern and developing artistic taste. Children look at beautiful objects: carpets, vases, embroidery, etc., which increases the overall aesthetic culture. In decorative drawing classes, children not only reflect their impressions of these objects and repeat the patterns they see on them, but also learn to create a pattern on their own and create beautiful combinations of shapes and colors. Therefore, at the initial stage of training, it is possible to copy the elements of a pattern from a sample, borrowing the principles of arrangement of elements and color combinations.
Sometimes several samples may be included for selection if children have already mastered a skill.
The use of samples is determined by the objectives of this lesson. So, a sample can be offered without special instructions from the teacher, the children, having examined it, do the work independently. In this case, the use of the sample will contribute to the development of the child’s analytical-synthetic thinking.
Sometimes a model acts as a teaching technique. For example, in object drawing or modeling, a sample is used not for the purpose of copying, but to clarify children’s ideas about the object being depicted.
The use of samples with simplified, schematic images has a negative effect on the development of children’s creative abilities. Simplifying the image to a diagram only creates an apparent simplification of the task assigned to the children. The diagram does not correspond to the child’s specific idea of ​​the object, since it lacks characteristic details by which the preschooler recognizes the object.
You should not replace the idea formed on the basis of a specific perception with a flat schematic image, devoid of individual traits. Such a scheme will not help the child highlight the main thing in the subject, but will simply replace the image of a specific subject.
Using such examples, the teacher forgets about such an educational task of visual activity as consolidating children’s ideas about the surrounding reality.
Training with the constant use of ready-made schematic samples ultimately comes down to a narrow task - developing the ability to create simple forms. Training the hand in creating such a form is isolated from the work of consciousness. As a result, patterns appear in children’s drawings: a house with a triangular roof, birds in the form of checkmarks, etc. This impoverishes the child’s drawing, the once and for all acquired schematic form eliminates the need for further observations, and visual activity is divorced from reality. An unconsciously acquired schematic image often loses its resemblance to a real object, as the child repeats the learned forms without thinking. For example, a “tick” bird turns its wings down or to the side when depicted.
Pictures are used mainly to clarify children's ideas about the surrounding reality and to explain the means and methods of depiction.
The painting, as a work of art, vividly and emotionally conveys the image.
The means of artistic expression with which the artist creates a work of art provide a visually perceived image. Research by psychologists and teachers has shown that children as young as two years old can understand a picture as an image of an object. The connection between the characters in the picture, i.e., understanding of the action, is realized somewhat later, at the age of 4-5 years.
Observations of the surrounding reality are often short-term (for example, observations of animals in a city). Therefore, the use of a picture will not only ensure repetition of perception, but also highlight the main thing characteristic of the subsequent image.
Looking at paintings can be recommended in cases where the desired object is not available, and can also serve as a means of introducing children to certain techniques for depicting on a plane. For example, a teacher shows a picture to explain the image of distant objects that in life the child perceived as located on flat ground. For this purpose, the picture can be used in work with children six years old; they already have an understanding of this method of depiction. Looking at the picture, the child sees that the earth is represented not by one line, but by a wide strip, and distant objects are located above, close ones - below, to the edge of the sheet.
In order for the child to understand the technique used by the artist, it is necessary to explain it, since in the picture the child perceives only the final result. It is more expedient to carry out such examination and analysis of the picture before the lesson or at the beginning of it. A picture left in front of children throughout the lesson can lead to mechanical redrawing. Copying at this age does great harm - it inhibits the development of visual skills. It is impossible for a preschooler to understand all the techniques and visual means used by the artist, so he will draw without understanding why it was drawn this way and not otherwise.
Sometimes during the lesson it becomes necessary to show some children a picture to clarify some detail. Then the picture is removed, since its further perception will lead to copying. This technique should be used with caution.
The kindergarten program establishes the scope of visual skills that children must master in the learning process. Mastering a relatively small range of skills will enable the child to depict a wide variety of objects. For example, in order to draw a house, you need to know the techniques of depicting a rectangular shape, that is, be able to connect lines at right angles. The same techniques will be needed to draw a car, a train, or any other object that has a rectangular shape.
The teacher's demonstration of image methods is a visually effective technique that teaches children to consciously create the desired form based on their specific experience. Demonstration can be of two types: demonstration by gesture and demonstration of image techniques. In all cases, the demonstration is accompanied by verbal explanations.
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. 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 the children draw a high-rise building.
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.
There is also a well-known technique when a teacher in a younger group makes an image together with the child, leading his hand.
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). The teacher demonstrates smaller details in drawing or modeling.
The nature of the demonstration 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 a preparatory school group in drawing on the topic “ Beautiful house“The teacher shows on the board how different the shapes of windows and doors can be. Such a 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.
Constantly demonstrating how to complete 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. A teacher's demonstration is always necessary when explaining new techniques.
The development of analytical thinking, which results in a critical attitude to what is perceived, allows children to objectively evaluate the work done by their comrades and their own work. But a child reaches this level of development by the age of five.
IN younger age the child cannot fully control and evaluate his actions and their results. If the work process gave him pleasure, he will be pleased with the result, expecting approval from the teacher.
In the younger group, at the end of the lesson, the teacher shows several well-done works without analyzing them. The purpose of the show is to attract children's attention to the results of their activities. The teacher also approves the work of the other children. A positive assessment of them helps to maintain interest in visual arts.
In the middle and senior groups, the teacher uses display and analysis of children's work as a technique to help children understand achievements and mistakes in the image. The ability to see how correctly an object is depicted helps to develop a conscious attitude towards the choice of means and methods of work to enhance all creative activity.
After completing the task, the teacher shows one of the works and notes its positive aspects: “How well, neatly the house is painted”, “How beautifully the colors are chosen in the pattern - dark and light side by side, they can be clearly seen”, “How interestingly the skier is sculpted”, etc. d. If there are similar errors in many works, then you should pay attention to them and ask how they can be corrected.
One should not consider an error in the work of one child with all children, since its awareness will only matter to this child. The causes of the error and ways to eliminate it are best analyzed in an individual conversation.
In the older group, all children should be involved in the analysis. However, sometimes the teacher himself gives the assessment. For example, wanting to encourage a child who draws poorly and anticipating criticism of his work by other children, the teacher is the first to point out the positive aspects of the drawing.
Analysis of children's work can be carried out in various ways. Most often, to save time, the teacher selectively takes several works for analysis. You should avoid showing the same child's work at each lesson, even if it really stands out. As a result of constant praise, he may develop unjustified self-confidence and a feeling of superiority over other children. Gifted children should be worked individually, taking into account their abilities and visual skills.
Sometimes the teacher entrusts the choice of work for analysis to the children. In these cases, all works are laid out on one table (or attached to a stand) and the children are asked to choose the ones they like best. Then the teacher analyzes the selected works in detail with the children.
Discussion of the work of each child is possible in the preparatory group; children are already interested in the results of the work of their comrades. But such an analysis should be carried out in free time from classes, since 2-3 minutes at the end of class is not enough.
Children six years old can be asked to analyze their work, comparing them with nature or a model. This instills in children a critical attitude not only towards the work of their comrades, but also towards their own.

Verbal teaching methods and techniques

Verbal methods and techniques of teaching include conversation, instructions from the teacher at the beginning and during the lesson, and the use of a verbal artistic image.
Visual arts classes, as a rule, begin with a conversation between the teacher and the children. The purpose of the conversation is to evoke previously perceived images in the children’s memory and arouse interest in the activity. The role of conversation is especially great in those classes where children will do work based on a presentation (according to their own ideas or on a topic given by the teacher), without using visual aids.
The conversation should be short, but meaningful and emotional. The teacher mainly pays attention to what will be important for further work, i.e., to the constructive color and compositional solution of drawing, modeling, etc. If the children’s impressions were rich and they have the necessary skills to convey them, such a conversation is often enough to complete the task without additional techniques.
To clarify children’s ideas on a topic or familiarize them with new depiction techniques, the teacher shows the desired object or picture during the conversation or after it, and before the children begin performing the task, demonstrates the method of work. Conversation as a teaching method is used mainly in working with children 4-7 years old. In younger groups, conversation is used in cases where it is necessary to remind children of the object that they will depict, or to explain new techniques of work. In these cases, conversation is used as a technique to help children better understand the purpose and purpose of the image.
The conversation, both as a method and as a technique, should be brief and last no more than 3-5 minutes, so that the children’s ideas and emotions are revived, and the creative mood does not fade.
Thus, a properly organized conversation will contribute to better performance of the task by children. An artistic image embodied in a word (poem, story, riddle, etc.) has a unique clarity. It contains that characteristic, typical thing that is characteristic of this phenomenon and distinguishes it from others.
Expressive reading of works of art contributes to the creation of a creative mood, active work of thought and imagination. For this purpose, the artistic word can be used not only in classes on illustrating works of literature, but also when depicting objects after their perception.
In all age groups, you can start the lesson with a riddle that will evoke a vivid image of an object in the children’s minds, for example: “A tail with patterns, boots with spurs...” The riddle notes some details of the shape - a beautiful tail, spurs and the habit of a rooster, which highlight him among other birds.
In order to revive previously perceived images of objects in children's memory, you can use short poems and excerpts from works of art.
In some cases, a verbal image accompanies a demonstration of nature or depiction techniques.
When drawing or sculpting on themes from literary works, the use of other teaching techniques at the beginning of the lesson is inappropriate, as they can interfere with the work of the imagination. A painting or nature will bind the child to a certain pictorial form, the verbal image will fade.
The teacher should seriously approach the selection of works of art and excerpts from them for illustration. A verbal image should include pictorial aspects and show those features of an object that are associated with its visual perception (color, shape, position). For example, when illustrating N. A. Nekrasov’s poem “Grandfather Mazai and the Hares,” almost all the children did good work, since in this work the author vividly described the appearance of the animals and their poses. Such visible images help the child to convey them specifically. An artistic literary image evokes the work of not only the reproductive imagination, but also the creative one.
Even if the verbal image is very specific and vivid, the child needs to think through and imagine a lot: the setting, location, details and much more.
The teacher’s instructions necessarily accompany all visual techniques, but can also be used as an independent teaching method. It depends on the age of the children and on the objectives of the lesson. Typically, the teacher gives instructions in connection with the explanation of the assigned educational tasks.
When teaching children of primary preschool age, purely verbal instructions are rarely used. Children still have too little experience and do not have enough visual skills to understand the teacher’s explanation without the participation of sensory analyzers. Only if the children have firmly established skills, the teacher may not accompany the visual demonstration with action.
In the minds of 5-6 year old children, a word evokes a memory of the required technique and what action should be performed when using it. The teacher’s instructions can be addressed both to the whole group and to individual children.
For all children, instructions are usually given at the beginning of the lesson. Their goal is to explain the topic of the work and the techniques for its implementation. Such instructions must be very concise, clear and concise. To check how the children understood the explanation, the teacher in the middle and senior groups can ask one of them about the sequence and methods of doing the work. This verbal repetition of the task helps children better understand their actions. In the younger group, after explanation and demonstration, the teacher should be reminded where to start working.
After all the children have started work, the teacher should not rush with individual instructions and help. It is necessary to determine who currently needs help, who has not started work or has started it incorrectly. With these children, the teacher finds out the reasons for the misunderstanding of the task and repeats his explanation, showing some working techniques.
Not all children need individual guidance. Some people think about it on their own, mark the image with a pencil on a piece of paper, so they don’t need additional explanations. Indecisive, shy children who are unsure of their abilities need instructions at the beginning of the lesson. They need to be convinced that the work will certainly work out.
However, difficulties facing children should not always be prevented. Some of them can be refused additional explanations if the teacher is sure that they can solve the problem on their own, they just lack patience and perseverance. In addition, to foster creative activity, it is important that the child encounters difficulties and learns to overcome them.
The form of instructions cannot be the same for all children. For some, an encouraging tone is needed that arouses interest in the work and confidence in their abilities. Self-confident children should be more demanding.
The teacher's instructions should not be a direct dictation to children on how to depict an object in a particular case. They must make the child think, think. When pointing out an error, you need to draw the child’s attention to the violation of meaning and logic in the image: “The dress on the girl looks like it’s torn” (poorly shaded), “Trees are falling” (poorly positioned), “The man is so big that he won’t be able to enter the house.” At the same time, you should not explain how to correct the mistake; let the child think about it himself. Comments should be made in a friendly tone so that children feel the teacher’s interest in their work.
Individual shouting should not attract the attention of all children, so it should be done in a low voice. Instructions are given to all children during the lesson if many make mistakes. Then the teacher invites everyone to stop working and listen to his explanation. Such breaks should only be taken when absolutely necessary, as they disrupt the creative process.

Game-based learning techniques

The use of game moments in the process of visual activity refers to visual and effective teaching methods. The smaller the child, the bigger place His upbringing and training should include play. Game teaching techniques will help attract children's attention to the task at hand and facilitate the work of thinking and imagination.
Learning to draw at a young age begins with play exercises. Their goal is to make the process of teaching children to create simple linear shapes and develop hand movements more effective. Children, following the teacher, first draw various lines in the air with their hand, then with their finger on paper, supplementing the movements with explanations: “This is a boy running along the path,” “This is how grandma is shaking a ball,” etc. The combination of image and movement in a play situation significantly accelerates mastery skills to depict lines and simple forms.
The inclusion of playful moments in visual activities in the younger group continues when depicting objects. For example, a new doll comes to visit the children, and they make her a treat: pancakes, pies, cookies. In the process of this work, kids master the ability to flatten a ball.
In the middle group, children draw a teddy bear from life. And this moment can be successfully played out. The bear knocks on the door, greets the children, and asks them to draw him. At the end of the lesson, he takes part in viewing children's works, chooses the best portrait on the advice of the children and hangs it in the play corner.
Even with children of six years old, it is possible to use gaming techniques, of course, to a lesser extent than in the younger group. For example, during a walk, children look at the landscape, trees, animals through homemade cameras, “take pictures,” and when they come to kindergarten, “develop and print them,” depicting what they perceive in a drawing.
When using game moments, the teacher should not turn the entire learning process into a game, as it can distract children from completing the educational task and disrupt the system in acquiring knowledge, skills and abilities.
Thus, the choice of certain methods and techniques depends on:
on the content and tasks facing this lesson, and on the tasks of visual activity;
on the age of children and their development;
on the type of visual materials with which children operate.
In classes where the focus is on the task of consolidating ideas about the environment, verbal methods are mainly used: conversation, questions to children, which help the child to recall what he has seen.
In different types of visual activities, teaching methods are specific, since the image is created by different means. For example, the task of teaching composition in plot themes requires an explanation of the picture in drawings, showing in the drawing how distant objects are drawn higher and nearby ones lower. In modeling, this problem is solved by arranging the figures according to their action: next to or separately from each other, one after another, etc. No special explanation or demonstration of the work is required here.
Not a single technique can be used without carefully thinking through the tasks at hand, the program material of the lesson and the developmental characteristics of children in this group.
Separate methods and techniques - visual and verbal - are combined and accompany one another in a single learning process in the classroom.
Visualization renews the material and sensory basis of children's visual activity; the word helps create a correct representation, analysis and generalization of what is perceived and depicted.

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METHODOLOGY FOR TEACHING FINE ARTS
Number of hours - 8

Practical lesson No. 1

Topic: Monitoring the artistic and creative development of students in art lessons and in extracurricular activities

Form: practical lesson (2 hours)

Target: enriching the arsenal of diagnostic techniques for fine arts teachers. Consolidating the skills to monitor and analyze the results of one’s work on the artistic and creative development of students.

Basic concepts: diagnostics, diagnostic technique.

Plan

1. Diagnostics of artistic and creative abilities of students “5 drawings” by N. Lepskaya.
2. Diagnostics of the development of artistic perception in primary schoolchildren A. Melik-Pashayev.
3. Diagnostics of aesthetic perception of students by E. Torshilova and T. Morozova.

1. Diagnostics of students’ artistic and creative abilities

"5 DRAWINGS"(N.A. Lepskaya)

Conditions: the child is asked to come up with and draw five drawings on separate sheets of paper of the same size (1/2 landscape sheet).

Instructions for children:

“Today I invite you to come up with and draw five pictures. You can draw whatever you want, whatever you know how to draw, or whatever you would like to draw and have never drawn before. Now you have such an opportunity.” Nothing in the instructions can be changed or supplemented. You can only repeat it.

On the reverse side, as the drawings are completed, the drawing number, name and answer to the question “What is this drawing about?” are written.

Indicators:

1.Independence (originality) – records the tendency to productive or reproductive activity, stereotypical or free thinking, observation, memory.

2. Dynamism – reflects the development of fantasy and imagination (statics speaks of the absence of a work plan, of an unformed ability to find and create ideas for one’s drawings).

3. Emotionality – shows the presence of emotional responsiveness to life events, attitude towards what is depicted.

4. Expressiveness – is determined by the presence of an artistic image. Levels:

Level of artistic expression		Criteria for evaluation
		Concept	Drawing
		Original, dynamics, emotionality, artistic generalization	Variety of graphic means of expression, proportions, space, chiaroscuro
		Indicators for type 1, but less bright	Indicators for type 1, but less pronounced
Level of fragmentary expression		Type 2 indicators, but no level of artistic generalization	No perspective, proportions are not respected, some images are sketchy
		The idea is original, based on observations, but does not imply dynamics and emotionality	Can convey proportions, space, light and shade well
Pre-artistic level		The idea is original, but poorly based on observations	Sketchy, no attempts to convey space and proportions
		Stereotyped	Reproductive

5. Graphics – conscious use of artistic means and techniques for working with various graphic materials

Results table:

№	List of students	Indicators					General point	Level

3. Diagnostics of aesthetic perception of students(authors E. Torshilova and T. Morozova)

Diagnosis of the sense of form(Test “Geometry in Composition”).

Among the principles of shape formation (the principle of reflection, the principle of integrity, the principle of proportionality and proportionality), the principle of geometric similarity stands out in this test. Geometric structure is one of the properties of matter. Geometric shapes and bodies are a generalized reflection of the shape of objects. They are the standards by which a person navigates the world around him.

The stimulus material for the test “Geometry in Composition” includes three reproductions: (K. A. Somov - “Lady in Blue”, D. Zhilinsky - “Sunday Afternoon”, G. Holbein the Younger “Portrait of Dirk Burke”) and four neutral in color, identical in texture and approximately corresponding in size to the compositional prototypes of the paintings of geometric figures:

triangle(“Lady in Blue” - pyramidal composition), circle(“day” - spherical composition), square(Holbein) and figure wrong forms (extra).

Instructions: find which geometric figure fits each of the paintings. Explanations like “Where do you see the circle here?” are unacceptable, since they provoke a fragmented vision, which is exactly the opposite of solving a problem that requires a holistic vision of the picture.

The assessment is based on the principle of correct and incorrect answers. The highest score is 6, 2 points for each correct answer. The value of the score itself is conditional each time and is given so that the principle of assessment itself is clear.

Test "Loud - Quiet".

The assignment material consists of color reproductions depicting three still lifes, three landscapes, and three genre scenes. The theme of the visual materials used throughout the methodology does not include plot images, since they provoke non-aesthetic perception, interest in meaningful information, and assessment of life events. In addition, the selection of material for the test must meet the requirement of the greatest possible thematic similarity, so that when comparing or lustrating, the child is less distracted by their differences, which are unimportant for the purpose of the task.

The researcher can select his own examples and check their “sound” with expert assessment. It is impossible to accurately describe the principles of correspondence between an image and its sound (loudness - quietness), it is only obvious that it should not be related to the plot of the image or the function of the depicted objects, but to the color saturation, the complexity of the composition, the nature of the line, and the “sound” of the texture.

For example, reproductions of the following paintings can be used in diagnostics: K. A. Korovin - “Roses and Violets”, I. E. Grabar - “Chrysanthemums”, V. E. Tatlin - “Flowers”.

Instructions: tell me which of the three pictures is quiet, which is loud, which is the middle one, neither loud nor quiet. One may ask: in what “voice does the painting speak” - loud, quiet, medium?

The task is assessed by pluses and minuses, the number of which is added up, and the child receives a total score for all answers. Absolutely correct answer: ++; relatively true, +-; completely untrue -. The logic of such an assessment is that the child is forced to choose from three “sounds” and evaluate the three images as if on a comparative scale.

TEST "MATISSE".

The goal is to determine children’s sensitivity to the figurative structure of the work and the artistic style of the author. As stimulus material, children are offered a set of twelve still lifes by two artists (K. Petrov-Vodkin and A. Matisse) with the following instructions: “Here are paintings by two artists. I will show you one painting by one and another artist. Look at them carefully and you will see that these artists draw differently. We will leave these two paintings as examples of how they paint. And you, looking at these examples, try to determine which of the remaining paintings were painted by the first artist and which by the second, and put them with the corresponding samples.” The protocol records the numbers of still lifes that the child assigned to one and another artist. After completing the task, the child can be asked how, in his opinion, these pictures differ, how, by what features he laid them out.

The artistic material offered to children is fundamentally different in artistic style. Decorativeness can be considered a defining feature of A. Matisse's still lifes; K. Petrov-Vodkin is characterized by the development of a planetary perspective and the volume of artistic design. Proper execution The task is associated with the ability, perhaps intuitively, to see the features of the artistic style, expressive means of the authors, how, and not what they draw. If, when classifying still lifes, a child focuses on the subject-content layer of the work, on what the artist depicts, then he performs the task incorrectly.

The Matisse test is a typical and rather complex example of diagnosing a sense of style.

"FACES" TEST.

Reveals the child’s ability to look and see (artistic perception) based on graphic drawings of the human face. The child’s ability to understand and interpret the person depicted is revealed on the basis of his ability to determine the person’s internal state, his mood, character, etc. by facial expression.

As stimulus material, children are offered three graphic portraits of A.E. Yakovleva (1887 - 1938). The first drawing (“Woman’s Head” - 1909) depicts a beautiful female face framed long hair, expressing some detachment, self-absorption, with a tinge of sadness. The second drawing (“Male Head” - 1912) depicts a smiling man in a headdress resembling a chef’s hat. The person depicted in portrait No. 2 probably has a lot of experience and life acumen. He obviously has such qualities as cunning, deceit, and a sarcastic attitude towards people, which makes a rather unpleasant impression, but children, as a rule, do not notice this. In the third picture (“Portrait of a Man” - 1911) there is a man, immersed in himself, perhaps thinking about something sad and distant. The man’s face expresses a range of non-intense negative experiences, some transitional states.

The drawings are offered to children with the following instructions: “In front of you are drawings by the artist A.E. Yakovleva, look at them and tell me which portrait do you like more than others? Which one do you like less or not at all? Why? You probably know that by the expression of a human face you can learn a lot about a person, about his mood, condition, character, qualities. People are depicted in these drawings in different states. Look carefully at the expression on their faces and try to imagine what kind of people they are. First, let's look at the portrait that you liked best. What mood do you think this person is depicted in? What is his character? Is this person kind, pleasant, good, or is he bad, evil, or somehow unpleasant? What else can you say about this man? Now let's look at the portrait that you didn't like. Please tell me everything you can about this person. What is he like, what mood is he in, what is his character?”

Then the child tells the same thing about the person depicted in the third portrait. The maximum expression of the ability for social perception (i.e., the perception of another person) is estimated at five points.

BUTTERFLY TEST.

The child is offered 5 pairs of reproductions, in which one is an example of “formalistic”, the other – realistic life-like painting or everyday photography:

1. I. Altman “Sunflowers” ​​(1915) - 1a. greeting card with the image of pink daisies on a blue background.
2. A. Gorky “Waterfall” (1943) - 2a. Photo of an orchard and a man pushing a cart of apples.
3. An artistic photograph of grass and stems enlarged to the scale of trees. The conventional “children’s” name is “Algae” - For. Photo "Autumn".
4. BOO. Tomplin “Number 2” (1953) - 4a. A. Rylov “Tractor on forest roads.” Code name “Winter Carpet” (1934).
5. G. Uecker “Forked” (1983) -5a. V. Surikov “Zubovsky Boulevard in Winter.” Children's name "Butterfly".

The color scheme of the images in pairs is similar, so that the child’s liking for one color or another does not interfere with the experimenter. The comparative artistic merits of the originals do not serve as the main point of reference, since a) interest is recorded in the differences in images that are obvious to children - abstractness or objectivity, ambiguity or obviousness, aesthetic imagery or functionality of information; b) the quality of reproductions does not allow us to speak about the full artistic merits of the reproduced paintings. Nevertheless, examples of recognized masters (A. Gorky, N. Altman, etc.) were used in the pair as a formalistic example. Thus, formalistic samples have a kind of certificate indicating their aesthetic merits. In each pair of images, one differs from the other in its unusual manner and its non-photographic nature, while the second, on the contrary, approaches photography. Children, as a rule, immediately catch the distinction between images in a pair according to this principle.

Instructions: show which picture (of the pair) you like best. All images - in all test tasks - are presented to the child anonymously, the author and title of the picture are not named.

You can present pairs in any order, and swap pictures within a pair, but it is not advisable to limit yourself to one pair; the choice can be completely random.

Evaluation of the implementation of this test task directly depends on the stimulus material itself and on the degree of originality of the choice - the typicality of the attitude expressed by the majority of children.

TEST "VAN GOGH".

The child is asked to choose the best, in his opinion, image from a pair of reproductions. The purpose of the survey is to identify the child’s ability to demonstrate features of an aesthetic attitude that are generally not characteristic of most children. Therefore, in pairs selected for assessment, children are given a rather difficult task: to choose between bright and evil or kind but dark; understandable, but monochromatic or unusual, although bright, etc. E. Torshilova and T. Morozova include not only “sad” pictures that are unusual in their visual style, but also emotionally unusual for children, as more complex and requiring greater aesthetic development. The basis for this position is the hypothesis about the direction of emotional development in ontogenesis from simple to complex emotions, from the harmonious undifferentiated integrity of the emotional reaction to the perception of the “harmony-disharmony” relationship. Therefore, in a number of couples, a sad and darker picture is considered both better in terms of aesthetic merit and more “adult”. The test material includes six pairs of images.

1. G. Holbein. Portrait of Jane Seymour.
   1a. D. Hayter. Portrait of E. K. Vorontsova.
2. Color photograph of examples of Chinese porcelain, white and gold.
   2a. P. Picasso “Can and Bowl”.
3. Photo of a netsuke figurine.
   Behind. “Bulka” - rice. dogs “Lion-Fo” (bright and angry; book illustration).
4. Photo of the palace in Pavlovsk.
   4a. V. Van Gogh “Asylum in Saint-Remy”.
5. O. Renoir. "Girl with a twig."
   5a. F. Ude. "Princess of the Fields"
6. Photo of the “Goat” toy.
   6a. Photo of the Filimonov toy “Cows”.
7. Greeting card.
   7a. M. Weiler “Flowers”.

Instructions: Show me which picture you like best. It is worth paying close attention to the degree of informality of the child’s understanding of the task and try to include his assessment if he leaves it and automatically chooses always the right or always the left picture.

The pairs are selected so that the “best” picture, the choice of which indicates the child’s developed cultural and aesthetic orientation, and not the age-related elementality of taste, differs in the direction of greater imagery, expressiveness and emotional complexity. In the “Van Gogh” test, these are pictures No. 1, 2a, 3, 4a, 5a and 6. The correctness of the choice was scored 1 point.

Literature

1. Lepskaya N.A. 5 drawings. – M., 1998.
2. Mezhieva M.V. Development of creative abilities in children 5-9 years old / Artist A.A. Selivanov. Yaroslavl: Development Academy: Academy Holding: 2002. 128 p.
3. Sokolov A.V. Look, think and answer: Testing knowledge in fine arts: From work experience. M., 1991.
4. Torshilova E.M., Morozova T. Aesthetic development of preschool children. – M., 2004.

Exercise 1

List the diagnostic techniques you use to monitor the artistic and aesthetic development of students. Present your version of diagnosing students’ knowledge or skills on one of the topics being studied (any form: tests, cards, crosswords, etc.). Artistic (aesthetic, if it is a computer version using color printing) design of the material is mandatory.

Task 2

Conduct a diagnosis of the aesthetic perception of students of one age group (at your discretion), using one of the proposed diagnostic methods. Provide an analysis of the results (quantitative and qualitative) in writing.

Practical lesson No. 2

Topic: Methods and techniques for introducing children to the fine arts and artistic activities
(Modern art lesson)

Form: practical lesson (2 hours)

Target: improving the knowledge of a modern fine arts teacher about the principles of designing an author's lesson (lesson-image), methods and forms of organizing students' activities.

Basic concepts: fine arts lesson, image lesson, principles of lesson design, method, forms of organizing activities.

Plan

1. A modern art lesson is an image lesson.
2. Principles for constructing a new art lesson structure.
3. Modern methods of teaching fine arts.

Based new concept artistic education, art lessons can be considered as a special type of lesson, the structure of which, the elements of the movement of teaching and upbringing must obey the laws of a special form of social activity - the laws of art. Modern an art lesson is an image lesson, the creators of which are the teacher and students.

Since each teacher as an individual is individual, the process he constructs can be individually unique. Just as in art one and the same theme, idea, problem is expressed differently by different artists, depending on the personal attitude of the author, the specifics of his artistic language, style, characteristics of the environment (society, time, era) in which he exists, Likewise, art lessons from different teachers should be different, unique in their own way. Those. we can talk about the authorial nature of the art lesson. Moreover, success depends not only on the personality of the teacher, but also to a huge extent on the level of emotional and aesthetic preparation of the class, each student, his psychological and age-related abilities.

An art lesson is a kind of “pedagogical work”, a “mini-performance”, an artistic and pedagogical action (having its own plan, its own plot, culmination, denouement, etc.), but internally connected with other “pedagogical actions” - lessons - links of one holistic system defined in the program. Based on the characteristics of the author's art lesson as an artistic and pedagogical “work,” the following principles for designing an image lesson have been identified.

1. The main principle of constructing a new structure of an art lesson is REFUSAL OF THE AUTHORITARIAN-DOGMATIC TRANSITION TO A HUMANE-DEMOCRATIC MODEL, THE END OF WHICH IS THE PERSONALITY OF THE STUDENT AS AN INTEGRAL AND INTELLIGENT PART OF THE “CO-OPERATION” - the collective of the class, school, environment based on communication - person, people, Wednesday. It includes:

a) the priority of the value of a growing person and his further development as an intrinsically valuable object;

b) taking into account the age and living conditions of the child and the children’s team: family, national, regional, religious, etc.;

c) taking into account individual personal qualities, the ability for self-development and self-education in a given artistic and aesthetic field of activity.

2. THE PRINCIPLE OF THE PRIORITY OF FORMING EMOTIONAL-VALUES RELATIONSHIPS among the main components of the art education system (objective, artistic knowledge, methods of artistic and aesthetic interaction with the world, experience of artistic and creative activity and experience of emotional-value relations:

a) mastering the developing structure of one’s own “I” (student);

b) mastering and transforming one’s own “I” of a collective, environment, society based on the content of artistic culture as part of spiritual culture;

c) interest and enthusiasm for the lesson activities;

d) experiencing and empathizing with an artistic image in the process of its perception and feasible practical creation.

3. THE PRINCIPLE OF AUTHOR’S FREEDOM OF DESIGN (composition) in the implementation of the image-lesson model, depending on the creative possibilities of the teacher’s artistic preferences and the level of artistic and emotional-aesthetic preparation of students:

b) creating the necessary (pedagogical and other) conditions for children to participate in “composing” and conducting a lesson (co-creation) based on preliminary preparation of students (homework for observation and analysis and aesthetic assessment of the surrounding reality, conversations in the family, communication with peers, extracurricular activities, etc.);

c) a pronounced priority of the dialogic form of lesson organization over the monologue.

4. PRINCIPLE OF ARTISTIC PEDAGOGICAL DRAMATURGY - CONSTRUCTION OF AN ART LESSON as a pedagogical work based on the implementation of the laws of dramaturgy and direction:

a) lesson script as the implementation of a plan;

b) lesson plan (main goal);

c) dramaturgy of the lesson process itself (plot);

d) the presence of emotional and figurative accents of the lesson plot (epilogue, plot, climax and denouement), built on various artistic and pedagogical games (role-playing, business, simulation, organizational and activity, etc.)

5. THE PRINCIPLE OF VARIABILITY IN THE TYPE AND STRUCTURE OF A LESSON-IMAGE DEPENDING ON THE NATURE OF THE CONTENT OF INTERACTION OF THE ACTIVITIES OF THE TEACHER AND STUDENTS, based on the concept of the lesson, which determines the “genre” of the lesson, including:

a) depending on the pedagogical purpose (report lesson, generalizing lesson, etc.);

b) depending on the content of the directing and performing functions of its participants - teachers and students: lesson-research; lesson-search; lesson-workshop; fairy tale lesson; lesson-call; lesson of mercy; lesson-riddle; lesson-song; etc.;

c) a free, dynamic, varied structure of the lesson with its moving elements (the lesson can begin with a homework assignment, and end with the formulation of an artistic problem - the culmination of the plot, which will be solved in the next lesson).

6. THE PRINCIPLE OF FREE INTEGRATION AND DIALOGUE WITH OTHER TYPES OF ARTISTIC AND AESTHETIC ACTIVITIES, school and extracurricular activities:

a) dialogue of cultures “horizontally” (using the experience of world artistic culture in various types of art and “vertically” (the connection of times in various types of art, in the experience of world artistic culture - the temporal and historical aspects of the dialogue of various arts and cultures);

b) integration of fine arts with other types of artistic and aesthetic activities (literature, music, theater, cinema, TV, architecture, design, etc.), in which not lessons are integrated, but topics, problems, cycles, depending on the lesson’s intent and goals and the tasks of the quarter, the year, and the entire system of artistic education.

7. THE PRINCIPLE OF OPENNESS IN AN ART LESSON:

a) involving specialists outside of school in working with children in the classroom (on certain topics, problems, blocks): parents, figures in various types of arts, architecture, teachers of other subjects, etc.;

b) cooperation of children of different classes and different ages, participation in conducting classes for high school students with children of primary school age and vice versa, especially in generalization lessons, reporting lessons, including for the purpose of assessing (not to be confused with a mark) the results of artistic and pedagogical activities;

c) conducting (if possible) art lessons outside the classroom and outside school, in conditions that are most consistent with the intent of the lesson (in museums, exhibition halls, workshops of artists, architects, folk art crafts, printing houses, in nature, etc. with the involvement of the necessary specialists), including in the design of interiors of schools, kindergartens, organization of exhibitions of children's works (and their discussion) outside of school (city microdistricts, rural areas, etc.);

d) continuation of the lesson outside of school: in students’ communication with the environment (in the family, with peers, friends), in their own self-knowledge, self-esteem and self-development, in personal hobbies and behavior.

8. PRINCIPLE OF ASSESSMENT OF SELF-ASSESSMENT OF THE PROCESS AND RESULTS OF ARTISTIC AND PEDAGOGICAL ACTIVITIES IN THE LESSON (“artistic criticism” of the lesson):

a) assessment and self-assessment of the process of implementing the lesson plan (by students and teachers) through dialogue, game situations, analysis and comparison;

b) assessment and self-assessment of the results of the activities of the teacher and students, their compliance with the plan (goal) of the lesson;

c) conducting a “public review of knowledge” (based on the principle of openness) with the involvement of students from other classes, parents, cultural figures, educators, etc.

d) joint determination (by teacher and students) of criteria for evaluating activities in the lesson:

• emotional, value and moral (responsiveness, empathy, aesthetic attitude, etc.);
• artistic and creative (artistic and figurative expressiveness and novelty);
• artistic erudition and literacy (knowledge of ways to create an artistic image, visual skills, etc.).

methods and techniques for teaching fine arts at school:

Appeal to the history of methods of teaching drawing in Russia	Literacy as a system of foundations for realistic depiction cannot be rejected, but in modern methods it is built on a different basis - figurative. The artistic image, which combines cognition, reflection, transformation, experience and attitude, is a key category in the construction of modern concepts of artistic education.
Method of teaching	A special section of pedagogy that studies the system of the most effective ways of teaching and upbringing; - the art of modeling the upcoming dialogue with specific children, in a specific setting and specific conditions, based on knowledge of their psychological characteristics and level of development (Rylova). Subject of the methodology The purpose and objectives of education
Teaching methods	Methods of interrelated activities of the teacher and students aimed at achieving educational goals; - a model of a unified activity of teaching and learning, constructed in order to implement in specific forms of educational work, presented in a normative plan and aimed at transferring to students and assimilating by them a certain part of the content of education (Kraevsky)
Fine arts teaching method	a system of teacher actions aimed at organizing the processes of perception, experiencing a topic, the work of imagination to create an image of a future drawing, as well as organizing the process of depiction in children
The connection between methods of teaching fine arts and specific sections of the content of art education	For example, experience in cognitive activity (knowledge about the world, about art, various types of artistic activity); experience of creative activity in teaching fine arts
Reception training	a more private, auxiliary means that does not determine all the specifics of the activities of the teacher and students in the classroom, and has a narrow purpose. Reception is a separate component of the method
Approaches to classifying teaching methods:
Classification of teaching methods by source of knowledge acquisition	1. Verbal methods ( explanation, story, conversation, lecture or discussion). 2. Visual methods ( observed objects, phenomena, visual aids- illustrations, reproductions, methodological diagrams and tables, teaching aids, pedagogical drawings; observation and perception of living nature, study of its qualities and properties, features of shape, color, texture, etc.). 3. Practical methods ( concrete practical actions).
According to the nature of students’ cognitive activity in the process of mastering the material being studied	information-receptive (explanatory-illustrative - the teacher communicates ready-made information, and students are required to understand, assimilate and retain it in memory). Used when presenting new material, explaining the topic of practical work, its purpose and objectives. Examination of objects (combined with verbal techniques). reproductive (involves the transfer of methods of activity, skills and abilities in a ready-made form and guides students to simply reproduce the model shown by the teacher). Pedagogical drawing (showing ways and techniques of depiction, searching for a composition). Exercises problematic presentation ( "creative task method" - setting a figurative problem, revealing contradictions that arise in the course of solving it), partial-search ( "co-creation method" because searching for means of expression) research ( "method of independent artistic creativity")
Based on a holistic approach to the learning process (Yu.K. Babansky)	Group I - methods of organizing and implementing educational and cognitive activities; Group II - methods of stimulation and motivation of learning Group III - methods of control and self-control in learning
Factors for choosing a method or system of teaching methods and techniques	1. The purpose and objectives of this lesson. 2. Specifics of the type of activity 3. Age characteristics of children 4. Level of preparedness of a particular class or group of children 5. The teacher’s understanding of the purpose of art education, its content and objectives 6. Level of pedagogical skill and personal qualities of the teacher

Literature

1. Goryaeva N.A. First steps in the world of art: Book. For the teacher. M., 1991.
2. Sokolnikova L.M. Fine art and methods of teaching it in elementary school. – M., 2002.

Guidelines to complete the work
All tasks are completed in writing.

Practical lesson No. 3

Practical lesson No. 4

Topic: Main directions of teaching fine arts in the context of modernization of education

(Elective courses as a means of developing varied content of art education)

Form: practical lesson (4 hours)

Target: formation of a value attitude towards the subject “fine arts”, formation of teachers’ skills in pre-profile and specialized training of students in the field of fine arts.

Basic concepts: elective courses; variable learning; differentiation; differentiated approach to learning; individualization; individualization of training; competence; principle.

Plan

1. Elective course as a didactic unit.
2. Specifics of elective courses.
3. Structure of elective courses.
4. Contents of electives.
5. An example of an elective course.

An elective subject is a purposefully selected and structured content of education (what to study?), which, using the appropriate method / technology (how to study?) takes the form of an elective course. Thus, an elective subject is studied, and an elective course is developed.

From a didactic point of view, conceptual approaches to selecting the content of elective subjects can be reduced to three main theories: encyclopedism, formalism and pragmatism (utilitarianism).

The technological component is developed within the framework of a wide range of psychological and pedagogical approaches, including systemic, activity-based, personality-oriented, personality-activity and competence-based.

The basic principles for developing elective courses that reflect the specifics of specialized training include: productivity principle educational activity, the principle of integrativeness, the principle of correspondence between the content and activity components of learning, p the principle of variability, the principle of individualization, the principle of regionality.

The main function of elective courses is to give students an answer to the following questions: “What do I want and can study? How? Where? For what?". After all, a subject profile can formally drive a student into strict boundaries, cutting off individually significant areas of human culture from his educational trajectory. As a result, the student’s educational trajectory may become specialized rather than individual. It is the electives that help compensate for this risk.

There are no educational standards for elective courses. The non-standardization, variability and short-term nature of elective courses (“optional courses”) are their features. The variability of elective courses suggests the following: as part of pre-professional preparation, a 9th grade student, focused on a specific profile (or, on the contrary, still hesitating in his choice), must try his “strength” in mastering different courses, of which there should be many, both quantitatively and as well as meaningful. The presence of a large number of courses differing from each other in content, form of organization and delivery technologies is one of the important pedagogical conditions effective pre-professional training. Time frames for specific elective courses may vary. However, teachers need to remember that a 9th grade student must try himself and test his strength in mastering different courses. Therefore, it is desirable that the courses be short-term.

The situation is different in grades 10-11. Elective courses in high school, when students have already decided on a profile and have begun training in a specific profile, should be more systematic (once or twice a week), longer-term (at least 36 hours) and, most importantly, set completely different goals than it was in 9th grade as part of pre-professional training. In grades 10-11, the purpose of the elective course is to expand and deepen knowledge, develop specific skills and abilities, and become familiar with new areas of science within the chosen profile.

These are the main differences between elective courses in 9th grade and 10-11th grades; the requirements for development and design are similar.

The curriculum should include the following structural elements:

• Title page.
• Program summary(can be done separately for students and parents)
• Explanatory note.
• Educational and thematic plan.
• Contents of the course being studied.
• Methodological recommendations (optional)
• Information support for the curriculum.
• Applications (optional)

Explanatory note.

• The explanatory note should begin with an indication of the educational field in which this elective course is included, and a brief statement of the goals of the field for a given level of study and a given profile. This helps to increase the integrity of training and makes it possible to implement the requirement of program unity. Then there should be a disclosure of the specific functions of this elective course.
• Formulating the goals of the elective course is the most important section. First of all, the goals arising from the function of the elective course as part of a particular educational field should be disclosed. It is important that the goals are formulated meaningfully, so that they take into account: the relevant profile of training, previously acquired knowledge by students, the requirements imposed by the charter of the educational institution, the information and methodological capabilities of the field of knowledge.
• After formulating the goals, the next element that needs to be covered in the explanatory note is short description composition and structure of the elective course content.
• To achieve certain learning outcomes and strengthen the instrumentality of the program, the ways of its implementation are important. Therefore, it is advisable to characterize the leading methods, techniques, and organizational forms of training recommended for the implementation of this content.
• In connection with the description of the learning process, it is advisable to name the main means of teaching, to identify typical diagnostic tasks of both a practical and theoretical nature, which should be performed by students not only with the help of a teacher, but also independently. It should be indicated how a differentiated approach to teaching students is carried out.
• Forms for summing up the implementation of the curriculum (exhibitions, festivals, educational and research conferences, competitions);
• At the end of the explanatory note, it is advisable to indicate the distinctive features of this program from those already existing in this area; what new has been introduced in the selection of material, its distribution, teaching methods.

Educational and thematic plan.

Lecture hours make up no more than 30% of the total number of hours.

• brief description of topics or sections;
• description of methodological support for each topic (techniques, methods of organizing the educational process, didactic material, technical equipment of classes).

Information support for the educational program includes:

• list of literature for students and teachers;
• list of Internet resources (URL address, WEB pages);
• list of video and audio products (CDs, video cassettes, audio cassettes).

Terms:

Elective courses– compulsory elective courses for students that are part of the profile of study at the senior level of school. Elective courses are implemented through the school component of the curriculum and perform two functions. Some of them can “support” the study of basic core subjects at the level specified by the profile standard. Others serve for intra-profile specialization of training and for building individual educational trajectories. The number of elective courses must be in excess of the number of courses that the student is required to take. There is no unified state exam for elective courses.

Variable training– training based on the implementation of variable educational programs, where the variability of educational programs is determined by the construction of the content of general education programs (main, additional, specialized) taking into account the interests of students, regional and national characteristics, the capabilities of the teaching staff of the educational institution and the choice of educational resources of the environment.

Differentiation – This is the orientation of educational institutions towards the development of interests, inclinations, abilities and pedagogical capabilities of students. Differentiation can be carried out according to various criteria: based on academic performance, abilities, taking into account the choice of subjects, etc.

Differentiated approach to learning– a learning process that takes into account the characteristics of different groups of students, designed for the feasibility of learning for each group.

Personalization– this is taking into account and developing the individual characteristics of students in all forms of interaction with them in the process of training and education.

Individualization of training – training in which the methods, techniques and pace are consistent with the individual capabilities of the child, with the level of development of his abilities.

Competence– a person’s ability to realize his plans in a multifactorial information and communication space.

Principle– a guiding idea, a basic rule, a basic requirement for activity and behavior.
An example of an elective course in fine art and art(Internet) .

Elective course program “Art and us”(artistic and pedagogical direction) T.V. Chelysheva.

Chelysheva T.V. “Pre-professional training for ninth-graders. Educational field “Art”. Educational and methodological manual. – M.: APK and PRO, 2003.

Explanatory note

This program is designed to provide pre-profile preparation for ninth-graders to study in the artistic and pedagogical direction of the humanities.

Goal, objectives and principles for implementing the content of the elective course "Art and We"

The purpose of the elective course “Art and We” is to develop the interest and positive motivation of schoolchildren in the artistic and pedagogical direction of the humanities by familiarizing them with the types and methods of activity necessary for the successful development of a professional training program for a music or fine arts teacher.

The elective course “Art and We” is predictive (propaedeutic) in nature in relation to the specialized course in art and increases the likelihood of a graduate of a basic school making an informed choice of an artistic and pedagogical direction in the humanities.

Among the subject-oriented (trial) courses, the elective course “Art and We” is designed to address the following tasks:

• give the student the opportunity to realize his interest in the artistic and pedagogical direction;
• to clarify the student’s readiness and ability to master the chosen direction in elevated level;
• create conditions for preparing for optional exams, i.e. on subjects of future artistic and pedagogical profiling.

It is expected that this elective course will contribute to the development of psychological readiness to choose an artistic and pedagogical profession for specialized training in high school. At the same time, the focus is on the professional qualities of an art teacher, which are considered from the point of view of developing the following abilities:

1. Abilities for psychological and pedagogical activities

• the ability to create a trusting, creative classroom atmosphere;
• the ability to interest students in art;
• the ability to organize mental activity when perceiving a work of art;
• ability to conduct classes based on the principle of artistry;
• ability for artistic and pedagogical improvisation.

2. Abilities for art criticism and musicology activities:

• the ability to determine the artistic intent of a work;
• the ability to highlight elements of artistic speech that have become for the author the means of realizing a given plan;
• the ability to determine the nationality and authorship of a work;
• the ability to identify the functions of art using the example of a specific work of art;
• the ability of students to form their own attitude to life based on its emotional and figurative cognition.

3. Abilities for professional performing activities:
Music.

• skills of a performer-instrumentalist, performer-singer (to show a work, performing it expressively, to use techniques of sound production and sound science in creating an artistic image of a work, to combine technical and artistic tasks in the concept of performing culture, etc.);
• choirmaster skills (transform the learning process into an artistic and pedagogical analysis of the work, demonstrate the ability to conduct with one hand while simultaneously performing a choral part on the instrument with the other hand, work with an a cappella choir, reflect the artistic image of the work on the conductor’s gesture, etc.);
• accompanist skills (mastery of nuance, tempo; listening to the choir, soloist, the ability not to drown him out; the ability to provide support with the expressiveness of one’s own performance; the ability to merge with the choir, soloist; the ability to get out of a difficult situation when the soloist makes a mistake, to be a support for him; the ability to feel the choir ; ability to select and harmonize a melody “on the fly”);
• mastery of technical teaching aids (sound reproducing and audiovisual equipment).

art

• mastery of the language of fine arts as a means of universal communication (be able to draw, paint in watercolors, oils; master graphic techniques and means, decorative arts techniques, modeling techniques; write in 2-3 fonts);
• the ability to organize one’s own artistic and creative activities in the field of arts and crafts, fine arts, sculpture, architecture and design;
• the ability to compose graphic, pictorial, decorative and design compositions using various techniques, techniques, and means of artistic and figurative expression;
• the ability to assemble and design an exhibition display of works of art, creative works of children and teachers: mastery of technical teaching aids.

The content of the elective course is implemented according to the principles of consistency and systematicity. It includes two sections: “Art and Life”, “Specifics of Art and Features of Art Education”. In the process of implementing these sections, on the one hand, there is a deepening and expansion of the content of the basic school programs in music and fine arts, programs of elective courses in world artistic culture, traditional folk culture, etc., on the other hand, an awareness of the characteristics of the artistic and pedagogical profession of the school teachers.

It is assumed that ninth-graders have experience in the emotional and value perception of works of art, experience in artistic and creative activities, and their own impressions of the artistic and pedagogical activities of music and fine arts teachers.

Based on this experience, the process of pre-professional training of ninth-graders with a focus on the artistic and pedagogical direction of the humanitarian profile is built in the form of an “ascent to the profession.” Essential for this is the development of students’ own attitude, their independent view of the role of art in people’s lives, the characteristics of art education, and the specifics of the profession of a school art teacher.

This approach is facilitated by the thematic construction of course sections that are in close interaction. The dialectic of ascent to the profession is due to the natural connection between the multifunctionality of art, general art education as a mechanism for the cultural development of man and society, as well as the enduring role of the art teacher in this process. Awareness of thematics, built on the principle from simple to complex, develops along three lines:

1. From an emotional response to school art classes - to an awareness of the need for their pedagogical organization.
2. From independent experience of communicating with works of art (outside school) to pedagogically oriented experience in organizing this process (school classes),
3. From the role of a student (follower) to the role of a teacher (leading).

Each of the lines receives “expansion” as the thematic development develops (from simple to complex).

The dialectical logic of ascent to the profession is to establish a correspondence between the topics of the program, their artistic and pedagogical concept, the psychological and pedagogical basis and the tasks of professional guidance of students, solved within the framework of each topic.

This approach is reflected in the following “Structural and logical diagram of the thematic construction of the elective course “Art and We” and in the table “Dialectical logic of ascent to the profession.”

Dialectical logic of ascent to profession

Program section: Art and life

Topic name	Number of hours	Forms of conducting classes
Why do we need art		Visit to a concert hall: theater, art. exhibitions, etc.	Emotionally conscious response to a work of art	Artistic perception and artistic thinking as a psychological tool for human communication with art	Definition of artistic perception and artistic thinking as the psychological basis of the professional activity of an art teacher
"Art-social technology of feelings" Ya. S. Vygotsky		Free discussion
Man in the world of art		Taking a music or art class. Seminar	From awareness of the role of art in human life - to the establishment of the interdependence of art and school activities.	From artistic perception and artistic thinking to artistic and pedagogical communication	Awareness of the role of the pedagogically oriented process of communication with works of art

Topic name	Number of hours	Forms of conducting classes	Artistic and pedagogical concept of the topic	Psychological and pedagogical foundations for the implementation of the topic	Objectives of vocational guidance
		Problem-search activity. Extracurricular artistic and creative activities	Expanding knowledge about different types of art in the process of designing school classes and extracurricular activities	Artistic and pedagogical communication is a factor determining the process and result of art education	Identification of the significance of the pedagogical activity of an art teacher for the formation of the artistic culture of schoolchildren
School art lesson - what's special about it?			Designing a school art lesson as an artistic and pedagogical activity	Solving design and predictive problems of artistic and pedagogical activities	Motivated modeling of artistic and pedagogical activities
Art-teacher-student		Extracurricular workshop
Profession: teacher, artist		Round table	Identification of professional qualities necessary for artistic and pedagogical activities	Motivation to become an art teacher	Introduction to the educational map of the region (artistic and pedagogical direction)

The criteria for success in the elective course “Art and We” are:

• the degree of development of interest in the profession;
• the degree of manifestation of abilities for artistic and pedagogical activities;
• the degree of manifestation of independent views, positions, judgments about the process and result of artistic and pedagogical activity.

The effectiveness of classes is monitored according to these criteria based on observations of students in the process of work, interviews with them, as well as completing an essay on one of the proposed topics.

“Art is a social technique of feelings” (L.S. Vygotsky).
"Man in the world of art."
"Art as a system of figurative languages."
"Art at school."
"Art - teacher - student."
"Art lesson - lesson-action."
"Profession - teacher-artist."

The abstract, which ends the study of the course, is a form of reporting for ninth-graders. The essay is practice-oriented in nature and includes reflections of schoolchildren based on information received in the classroom, literary sources recommended by the teacher, as well as specific examples from artistic and pedagogical practice.

Methods and forms of implementation of the content of the elective course "Art and We"

The content of the course is implemented on the basis of the methods of artistic and pedagogical dramaturgy, generalization, problem-search method and project method. The method of artistic and pedagogical dramaturgy contributes to the psychological adaptation of schoolchildren in their chosen subject, which is in full accordance with the specifics of art and the process of art education. The problem-search method, the generalization method and the project method optimize the process of ninth-graders’ ascent to the profession, as they help form an independent view of it and a conscious perception of its features.

“Art and Us” is a dynamic course with a strong practice-oriented focus, as evidenced by various types and forms of conducting classes. There are two types of classes offered: extracurricular and class. Extracurricular activities include: visiting a concert hall, theater, art exhibition, etc.; attending a music or fine arts lesson in one of the primary school classes; extracurricular workshop (conducting a fragment of a music or fine arts lesson in a primary school); extracurricular artistic and creative activities. Thanks to the frequent change of activities, schoolchildren will be able to engage in artistic creativity according to their interests, regardless of their existing special skills, and also try themselves as a music or fine arts teacher. Lessons are conducted in the following forms: problem-search activities with modeling of educational situations, seminar, free discussion, round table using audio and video recordings.

The round table concludes the elective course "Art and We". Teachers and students of educational institutions engaged in the professional training of art teachers, as well as specialists in any artistic profession, can take part in its work. the main task round table - identifying the special qualities of an art teacher, which are manifested in his abilities for psychological, pedagogical, art history and professional performing activities.

During the round table, it is possible to demonstrate the level of development of these abilities among students of relevant educational institutions (school educational situations are modeled; musical, dance, poetic works or fragments thereof are performed “live” or recorded; drawings or arts and crafts are created, etc. ). Invited participants are expected to answer questions from ninth-graders. Upon completion of the work, students receive an educational map of the region with an advertising brochure for each of the institutions of a special artistic or artistic-pedagogical orientation represented in it.

Course plan and lesson content

Course plan

Educational and thematic plan of the course

No.	Name of topics	Total hours	Of them
				extracurricular
	Art and life
	Why do we need art?
	“Art is a social technique of feelings” (L. S. Vygotsky)
	Man in the world of art
	Specifics of art and features of art education
	Art as a system of figurative languages
	Art and art education: a historical excursion
	School art lesson - what's special about it?
	Art - teacher - student
	Profession: teacher-artist
Total:

Course content

SECTION I. Art and life

Topic 1. Why do we need art? (2 hours)

The lesson is held outside of school: in a concert hall, theater, exhibition or art museum. Ninth-graders are invited to use specific examples of what they saw or heard to reflect independently on the meaning of art in human life. Reflections are recorded in a diary of impressions. For the logic of reflection, guiding questions are proposed:

• What are common and special in different types of art?
• Can the work of art with which you “communicated” be called a masterpiece?
• Why?
• What is the reason for the immortality of great works of art?
• What can you say about the author of the work of art you saw or heard?

Topic 2. “Art is a social technique of feelings” (L. S. Vygotsky) (1 hour)

The topic is implemented in the form of a free discussion, drawing on the material from the previous lesson and the reflections of the ninth-graders, recorded in the diary of impressions. The discussion is based on the guiding questions proposed in topic 1.

Through collective reflection, the functions of art related to the transformative, cognitive and evaluative activity of a person, with his participation in the process of communication, must be determined. To do this, during classes a collective search for answers to the questions is conducted:

• What feelings and emotions did the work of art you saw (heard) evoke in you?
• What have you learned thanks to him?
• Is it possible to say that you had a process of communication with the characters of the work and its author? Why?
• What is your attitude towards the characters of the work and the work as a whole?
• What did the author want to say with his work?

Topic 3. Man in the world of art (2 hours)

The first hour of classes on the topic is a pedagogical workshop in the form of a collective visit to one of the lessons in music or fine arts in any class of the basic school.
5-7 minutes before the lesson, the music (fine arts) teacher briefly characterizes:

1. Students of this class in terms of their general and musical (artistic) development:
   • general development of children - intelligence; speech; general culture and hobbies; activity; attitudes towards art classes; success in non-art disciplines, etc.;
   • musical (artistic) development of children - interest in a specific type of art; volume of listener (viewer) attention; musical (artistic) preferences; degree of development of special skills and abilities; theoretical, historical and bibliographic knowledge about music (fine arts), etc.
2. The program of the upcoming lesson in the following positions:
   • quarter theme; the topic of the lesson, its place in the lesson system of the quarter, year;
   • artistic and pedagogical concept of the lesson;
   • musical (artistic) material.

For subsequent work on the topic, ninth-graders record the characteristics given by the teacher, as well as their own impressions of the lesson. In addition, they can take part in artistic and creative activities of this class.

The second hour of classes on the topic “Man in the World of Art” is conducted as a seminar lesson. Preliminary preparation for it is carried out by schoolchildren based on the following indicative questions:

• Can art exist indirectly from humans?
• What people are involved in the creation and operation of a work of art?
• Why are art subjects needed in secondary schools?
• Who is a participant in the artistic and pedagogical process in an art lesson?
• School art teacher. Who is he? What should he be like?

Specific practical material for working at the seminar is the lesson attended, which is subjected to constructive analysis.

It is assumed that during the seminar, answering the proposed questions, ninth-graders independently establish the interdependence of art and life, art and man, art and school activities.

SECTION II. Specifics of art and features of art education

Topic 1. Art as a system of figurative languages ​​(10 hours)

Classes on this topic are divided into two blocks: a block of problem-search activities and a block of artistic and creative activities.

Block of problem-search activities- these are eight lessons of one hour each. These classes are practice-oriented, conducted in any form with modeling of school lesson situations and demonstration of works of art or their fragments. In this case, artistic material that students were familiar with in music, fine arts, and literature lessons can be used.

First hour
Art like highest form aesthetic comprehension of the world. "Eternal" themes in art. Artistic image. Beauty and truth in art. Syncretic origins of art. Kinds of art. Literature. Music. Art. Traditions and innovation in art.

Second hour
Theater. Drama, musical, puppet theaters. Actor, director, playwright, artist, composer - creator of stage action. Famous theater names.

Third hour
Synthetic arts.
Choreography. The language of dance. Variety of dances: classical, folk, historical, everyday, ballroom, modern. Ice ballet. Outstanding masters and choreographic groups.

Fourth hour
Synthetic arts. Cinema as an art born of the scientific and technological revolution. Types of cinema, its genre diversity and figurative specificity. The artistic process of making a film. Screenwriter, film director, cameraman. Great names in cinema.

Fifth hour
Photography is the art of “light painting”. Genre themes of photography (still life, landscape). Photo portrait and events in the frame. Informativeness of photographic images and artistic photography.

Sixth hour
Design. The art of organizing the environment around a person, decorating his life. Spheres of design. Floral design as a manifestation of everyday aesthetics The profession of a designer today.

Seventh hour
New types and genres of art of the second half of the 20th century. Television: the specifics of expressive means and the main television and video genres. Art and computer technology (computer music, computer graphics, computer animation, multimedia art, website creation, etc.).

Eight o'clock
Spectacular forms of art. Circus (acrobatics, balancing act, musical eccentricity, clowning, illusion). Variety as a synthesis of vocal, dramatic, musical, choreographic and circus art. Famous pop names. Creation of pop concerts and show programs.

The block of artistic and creative activities serves to realize the creative needs of students and is designed for two hours of extracurricular work.

Ninth-graders are expected to work individually or work in small groups, which is further embodied in collective extracurricular activities. The main principle of artistic and creative activity is the free choice of a specific creative event, preparation for which takes place during the extracurricular time allocated for this block.

The following forms of artistic and creative activity are expected:

• implementation of artistic projects (theatrical performances, evenings, exhibitions, video filming, festivals, holidays, competitions, etc.);
• collective creation of scenarios; elements of directing, acting, dance and plastic creativity; artistic and musical design of theatrical and entertainment projects;
• artistic photography, creation of video programs, video films;
• elements of publishing activities (art design, poetic almanacs, photo exhibitions, school thematic magazines and newspapers, editions of booklets, etc.);
• dance evenings, ballroom dancing as a means of communication and socialization of schoolchildren.

The implementation of artistic and creative activity is facilitated by the knowledge and skills acquired by ninth-graders during music and fine arts classes in primary school, as well as the information they received on this elective course in previous classes.

Topic 2. School art lesson - what's special about it? (1 hour)

A lesson-seminar for which ninth-graders prepare independently using the following guiding questions (based on the material from previous lessons in the first and second sections of the program):

• What is the difference between art and science?
• What is the difference between school science subjects and arts subjects?
• What is the difference between school and special arts classes?
• How to organize an art lesson at school? What is its dramaturgy?
• Is it necessary for schoolchildren to take an active position in relation to works of art? How can this manifest itself in art classes?
• What is interaction in the triad “Art - teacher - student”?
• What is the role of the teacher in the art education of schoolchildren?

It is expected that as a result of the work at the seminar, students will become convinced that an art lesson in a secondary school is an artistic and pedagogical action that is built according to the laws of art; has equal participants; encourages an emotional response to works of art, active independent reflection on the life problems raised in them; motivates for artistic and creative activities; makes you want to learn and understand more than what the lesson offers, to learn a specific type of artistic activity.

Topic 3. Art – teacher – student (2 hours)

The topic is implemented in the form of two extracurricular workshops. aimed at establishing dialogical unity in the triad “Art - teacher - student”.

Ninth-graders participate in music and (or) fine arts lessons in one of the classes of the main school.

Each of the students prepares a fragment of the lesson with any artistic material. One of the ninth-graders takes on the role of coordinator, whose task is to structurally combine these fragments into a single artistic and pedagogical action. The teacher conducting pre-specialty training is the organizer of this process.

Topic 4. Profession – teacher-artist (2 hours)

The lesson is held in the form of a round table with the invitation of teachers and students of art and art-pedagogical educational institutions in the region. The main task is to identify the main professional qualities of an art teacher and provide students with information about educational institutions in the region specialized in this area.

1. Boldyreva EM. Russian literature. XX century: Study. directory. - M.: Bustard, 2000.
2. Vardanyan R.V. World artistic culture: architecture. - M.: Vlados; 2003.
3. Grushevitskaya T.G., Guzik M.A., Sadokhin A.P. Dictionary of world artistic culture. - M.: Academy, 2002.
4. Guzik M.A., Kuzmenko E.M. Culture of the Middle Ages: entertaining games: Book. for students 6-9 grades. - M.; Enlightenment, 2000.
5. Guzik M.A. Educational guide to world artistic culture: 6-9 grades. - M: Enlightenment, 2000.
6. Guzik M.A. Russian culture: entertaining games: Book. for students 6-9 grades-M.: Enlightenment. 2000.
7. Guzik M.A. Culture of the Ancient East: entertaining games: Book. for students 6-9 grades-M.; Enlightenment, 2000.
8. Kashekova I.E. The language of plastic arts: painting, graphics, sculpture, architecture. - M.: Education, 2003.
9. Kashekova I. E. From antiquity to modernity: Styles in artistic culture. - M.: Education, 2003.
10. Korovina V.Ya. Folklore and literature.-M.: Skrin, 1996.
11. Korovina V.Ya. We read, think, argue: Didactic material. - M.: Enlightenment. 2002.
12. Korotkova M.V. Everyday culture: the history of costume. - M.: Vlados, 2003.
13. Laine S.V. Art of the 20th century: Russia, Europe. -M.: Education, 2003.
14. Maksakovsky V.P. Worldwide cultural heritage. - M.: Education, 2003.
15. Mosina Val. R., Mosina Ver. R. Art design at school and computer graphics: Textbook. - M.: Academy, 2002.
16. Naumenko T.N., Aleev V.V. Diary of musical reflections. - M.: Bustard, 2001.
17. Naumenko T.N., Aleev V.V. Music. - M.: Bustard, 2001 -2002.
18. Obernikhin GA. Literature and art of Ancient Rus' in school lessons. - M.: Vlados, 2001.
19. Rosemary, Barton. Atlas of wonders of the world. - Bertelsmann Media Moscow AO, 1995.
20. Scary S.L. Russian poetry of the 20th century. - M.: Education, 2001.
21. Tvorogov O.V. Old Russian literature. Reader for grades 5-9. - M.: Education, 1998.
22. Your professional career / Ed. S.N. Chistyakova. - M.: Education, 1998.

Your professional career: Didactic material for the course / Sub-editor, S.N. Chistyakova. - M.: Education, 2000.

When studying this course, teachers may recommend the following: methodological benefits:

1. Dementieva E.E. Diagnostics of professional activities of teachers of fine arts and world artistic culture / Ed. Brazhe T.G. - Orenburg: Publishing house OOIPKRO, 1998.
2. Dynamic tables in art lessons: Methodological recommendations / MGPI, Comp. IN AND. Kolyakina. - Magnitogorsk, 1996.
3. Achievements of students in fine arts as a result of educational activities / Compiled by N.V. Karpova. - Orenburg: Publishing house OOIUU, 1998.
4. Architecture of the Urals as a regional component of art education: Proceedings of the regional scientific and practical conference. April 27-28, 2001 / Rep. ed. IN AND. Kolyakina. - Magnitogorsk: MaSU, 2001.
5. Game methods and techniques in the art education of children: Materials of the city scientific and practical seminar / Ed. O.P. Savelyeva. - Magnitogorsk, 2001.
6. Toy as a means of ethno-art education and development of students’ creative abilities: Proceedings of the city scientific and practical conference / Ed. IN AND. Kolyakina. - Magnitogorsk: MaSU, 2000.
7. Collective creativity in art lessons: Methodological recommendations / MGPI, Comp. IN AND. Kolyakina. - Magnitogorsk, 1996.
8. Designing from paper in fine arts lessons in primary school / Magnitogorsk, state. ped int; Authors-comp. IN AND. Kolyakina, T.M. Dmitrieva. - Magnitogorsk, 1996.
9. Crosswords in fine arts classes at school: Methodological recommendations / Comp. Savelyeva O.P. - Magnitogorsk: MaSU, 2000.
10. Kuzmenkova O.V. Diagnosis and development of a teacher’s personality: Methodological manual. - Orenburg: Publishing house OOIPKRO, 1999.
11. Personal achievements of students as a result of the activities of a fine arts teacher: Collection of texts / Comp. I.L. Morozkina, V.M. Bustard. - Orenburg: Publishing house OOIPKRO, 2000.
12. Maksimova V.D. Development of creative activity of rural school students / Methodological recommendations for organizers of the educational process. - Orenburg: Publishing house OOIPKRO, 2000.
13. Methodological recommendations for organizing elements of collective activity in fine arts lessons /MGPI; Comp. IN AND. Kolyakina - Magnitogorsk, 1996.
14. Morozkina I.L. Introduction of elements of the regional component into the practical activities of an art teacher // Scientific information bulletin "Man and Education" OOIPKRO, No. 5. - Orenburg, 2001, pp. 80-86.
15. Poetic text in lessons on the image and perception of nature: Methodological manual / MGPI; Comp. IN AND. Kolyakina. - Magnitogorsk, 1996.
16. Rusakova T.G. Decorative art in a lesson in elementary school /Lectures on methods of teaching fine arts. – Orenburg: OGPU Publishing House, 1999.
17. Rusakova T. G. Fundamentals of spectator culture / Special course program. A set of didactic tasks and exercises to develop artistic communication skills in younger schoolchildren. – Orenburg: OGPU Publishing House, 2004.
18. Rusakova T. G. Methods of teaching fine arts with a workshop / Educational and methodological complex. – Orenburg: OGPU Publishing House, 2004.
19. Traditions of development of artistic paintings in modern decorative art of Russia: Materials of the city scientific and practical conference / Ed. T.V. Salyaeva. - Magnitogorsk: MaGU.2001.
20. Chadina T.A. As art says. – Orenburg: OGPU Publishing House, 2005.
21. Chadina T. A. Visual technologies in kindergarten and primary school / Methodological manual. – Orenburg: OGPU Publishing House, 2005.
22. Chadina T. A. How and how artists work. – Orenburg: OGPU Publishing House, 2005.

Exercise 1
Carefully read the elective course “Living Space - ART” by L. V. Kirillova and analyze all the structural components of the program (in writing). List your strengths and weaknesses.