Plan summary on the topic "Still life in contrasting colors." Plan - outline of a lesson in painting: Still life from objects of different materials (Imitation of oil painting techniques) Plan of outline of a lesson on the topic of still life
DEPARTMENT OF CULTURE
ADMINISTRATION OF THE CITY OF BRATSK
Municipal budget educational
institution of additional education for children
"Children's Art School No. 2"
municipality of the city of Bratsk
OPEN LESSON PLAN
additional pre-professional general education program in the field visual arts“Painting” (training period 5 (6) years),
academic subject "Painting", 1st grade, 1st half of the year
TOPIC: “COLOR HARMONY. POLAR HARMONY. DECORATIVE STILL LIFE"
Teacher of the Municipal Budgetary Educational Institution of Children's Education "DSHI No. 2" of the Bratsk Municipal District
Marina Mikhailovna Pozharskaya
Bratsk 2013
Subject Lesson Presented PO.01. UP.02, PO.01.UP.05“Painting” of the additional pre-professional general educational program in the field of fine arts “Painting” (course of study 5 (6) years), developed for 1st grade students of the art department. According to the calendar-thematic lesson plan, the selected topic of lesson No. 9 “Color harmony. Polar harmony. Decorative still life” is a continuation of the study of color harmonies. Topic of the previous lesson No. 8 “Light contrast (achromatic contrast).” This open lesson “Color harmony. Polar harmony. Decorative Still Life" is an activity to consolidate watercolor practice in the "Watercolor Painting" section. The lesson is designed for 3 academic hours according to the thematic lesson plan. The main objectives of the lesson are to move away from traditional academic teaching of art disciplines and to develop independent alternative solutions among students.
The main condition for a successful lesson is the encouragement of artistic self-expression and the active manifestation of individual creative initiative. Creative intrigue was chosen as the key point for the lesson. This provides constant motivation to develop interest in the content of the lesson. The presence of elements of a creative experiment activates the emotional state of students and contributes to the development cognitive activity and desire for results.
To effectively master the theoretical part of the lesson, a special thematic environment has been created in the form of an exhibition of Chinese cultural objects, musical accompaniment and a computer presentation.
The practical part of the lesson is presented in the form of a master class, which ensures a high degree of audience activity and develops creative courage. Various forms of training - from group to individual - create a dynamic picture of changing activities and activate the creative process.
Methodological development contains a detailed lesson scenario indicating goals and objectives, as well as the expected result. The stages of work show the logical course of the lesson and the interaction of the teacher with students. The appendix contains routing classes, description of technology and methods, their effectiveness in the classroom, didactic support (basic terms, task cards). The visual presentation was made in MS Power Point.
An open lesson is based on the amount of knowledge of the material covered, and also in parallel, pursues the goal of primary consolidation of new educational material, theoretical and practical opportunities in painting, i.e., mastering pre-professional skills of students in this academic subject.
Open lesson on “Painting” in 1st grade II half year
teacher MBOU DOD "DSHI No. 2" MO Bratsk
Marina Mikhailovna Pozharskaya
Date and time of the lesson: 10/12/2013, 15:00 – 17:20.
Subject section: Color harmony. Polar harmony.
Lesson topic: “Color harmony. Polar harmony. Decorative still life"
Lesson number: 8.
Lesson type: A lesson in studying and initially consolidating new educational material.
The purpose of the lesson: development of abstract thinking, improvement of skills painting technique, compositional mastery of sheet space; perception and transmission of colors.
Lesson objectives:
Educational:
Know:
Properties and specifics of watercolor painting, its capabilities and aesthetic qualities;
Artistic and aesthetic properties of color;
Basic principles of creating a color system;
Be able to:
See and convey color relationships;
Educational:
Development of artistic abilities;
Development of elements creative activity;
Educational:
Fostering “creative courage” and self-confidence;
Fostering the need for creative self-expression;
Education of aesthetic ideas and artistic taste;
Expected result:
Development of practical skills in watercolor painting in still life;
Search for color relationships;
Formation of real ideas about your artistic abilities.
Technologies used:
Personality-oriented technologies.
Lesson duration: 45 min. + 45 min. + 45 min. with changes
Lesson equipment:
Metaplan;
A2 sheet;
Scotch tape, clamps,
Tablets for designing pictures (passports)
Musical accompaniment ( MP3 audio center)
Computer presentation (video projector)
Laptop
Artistic tools and materials: watercolor paints(12–24 colors), “Squirrel” brushes (No. 5, No. 3, No. 2), black ink;
Methodological tables on color science, reproductions of still lifes, fruits or vegetables.
Integration: - color science, easel composition.
Lesson Plan:
8. Reflection (summarizing the lesson) 10 min.
During the classes:
Preliminary organization of the class (checking absentees,
external condition of the premises, workplaces, organization of attention);
2 . Setting the goals and objectives of the lesson.Introduction to the pre-professional situation.
Introduction
Greeting the audience
Introduction to the pre-professional situation:
During the classes.
Teacher- I would like to start our lesson with an invitation to an exhibition where you yourself can become a participant in the creative viewing. Every year at the end school year there is an exhibition of the best works of students in various artistic directions. Each of you has the opportunity to submit your work to the exhibition. After the exhibition is completed, the results will be summed up. Based on the voting results of exhibition visitors, winners in various categories will be determined. Real success awaits you! All you have to do is decide on the topic of your future creative work.
3. Updating knowledge. Working with theoretical information.
Teacher– what can artists depict in paintings and what do they want to express with their works? They can talk about various events, things, show what people were like before and convey their character and mood, how the artist feels about what he depicts.
Student 1– still life as a genre of painting arose in Europe at the border of the 16th and 17th centuries, the term itself appeared at the beginning of the 19th century. in France (dead nature), replacing the Dutch word (motionless nature). Still life is a genre in which the artist expresses his attitude to reality through the depiction of objects that he unites first in nature, and then on the canvas through semantic and aesthetic connections.
The genre of still life is multifaceted, its main object is intimate, private life person. His simple everyday affairs and needs, expressed in objects - food, drink, household utensils, elements of flora and fauna, and more. The artist depicts the outside world. Shape, color, texture of objects, density, softness, juiciness, moisture, transparency, fragility. Not only the physical properties of things are learned, but, mainly, their meaning for a person, the role they play in his life. Thanks to this, we get to know the life of the era and country. The artist examines objects close up - calmly, leisurely, carefully, shows them to the viewer close-up, from different angles - whole. Cut, broken. All this allows the viewer to see familiar things in a new way and appreciate their beauty.
Teacher– one of the main themes of the genre is love for nature, the theme of its knowledge and development, inspiration by the abundance of its gifts in endless beauty and diversity.
Student 2– in still lifes they sound and philosophical topics the meaning of human life. Objects depicted in still lifes can be divided into two large groups. Natural objects (flowers, fruits, fish, game). And things made by human hands (tools, household items, works of art).
The peculiarity of natural objects is their fragility, flowers wither, fruits spoil, etc. Therefore, the function of this genre is to give immutability to the changeable, to consolidate unstable beauty, to hold back the passage of time, to make the perishable eternal. This gives still lifes a philosophical depth that is attractive to the viewer, which is successfully expressed in poetry:
Having reached the present time,
There is a long knife left, not broken,
And curls in front of the lemon
Rough monogram of peel.
And the wall is not peeling,
And the fabric folds remain unchanged,
And everything is kept in order
And the ham turns pink.
No one drank wine.
And it didn’t spill on the napkin.
But there are no brushes and no palette,
And the artist has been gone for a long time.
And who will answer why,
Like last day
It will be like this tomorrow
Waiting for someone to have a laid breakfast -
And don't touch it.
A. Wexler.
Teacher– when we look at a number of still lifes by different artists, we see how diverse they are, and not only because of what is depicted (content), how it is depicted (means of expression), but also in the individual creative manner of each artist. We feel a certain emotional impact of each painting: some seem lyrical, intimate, others solemn, heroic, monumental
Thus, depending on the content of the objects depicted in the picture, we conditionally distinguish single-order or mixed still lifes.
Student- Single-order (single-type) still life depicts objects of one specific type: only vegetables, only fruits, berries, etc. The painting can also depict a variety of food items; bread and various flour products, cheese, sausages, various drinks, etc. I. Mashkov, “Moscow food. Bread." If the painting presents a variety of objects (vegetables and fruits, flowers and fruits, dishes, etc.), we define such a still life as mixed in content. I. Khrutsky, “Flowers and Fruits.”
The still lifes, united under the title “Lay Table”, have a slightly different character: “Breakfast”, “Dessert”, “Dinner”, etc. I. Grabar, “Untidy Table”. There is some story behind these images, which is why we label them. Like plot ones. The subject still life can include still lifes depicting birds, animals, humans - or still lifes including the landscape of F. Tolstoy, “Bouquet of Flowers, Butterfly and Bird”, S. Zhukovsky, “Before the Terrace”.
Teacher– As we have already noted, the main characters in a still life are objects. Things that are presented “close-up” so that you can peer into their beauty. Each item has its own shape, texture, density, etc.
Now we will play the game “Find out by touch.”
Purpose of the game: consolidate knowledge about the shape of vegetables and fruits, tactile examination of the shape, surface, correlate tactile sensations with existing visual ideas.
Material: set of fruits and vegetables, fabric bag.
Management: A group of students sits in a semicircle in front of a table. A bag of fruits and vegetables is on the table. In turn, everyone approaches the bag, putting their hand in the bag. Feel for some vegetable or fruit and try to guess what it is. Tell about the object, what shape it is, hard or soft, what kind of surface it has - smooth or rough. And at the end say what kind of object it is. Then take it out of the bag and see if they recognized it correctly.
The next task is to place five reproductions on an easel and determine which still life was painted indoors, which one was painted plein air, and how they differ.
2. Teacher– We have looked at many different still lifes, they are very diverse, made in different techniques and in different colors. How color helps to understand the mood of a painting.
In the work of any artist there are periods in which he gives preference to one or another color scheme. Some artists paint with warm shades of paint, others with cool shades, some in bright or pastel colors. And they all convey a different mood, state (cheerful, sunny, festive, sad, gloomy, etc.). Different sensations (coolness, freshness, tenderness, softness, ringing, etc.). We have come to the color scheme, let's pay attention to the color wheel. At the first stage, the color wheel can be divided into three color schemes:
Related color schemes;
Contrasting color schemes;
Related-contrasting;
Polar;
We will analyze the first color scheme. Related color scheme (4 colors in a row, including one main one, which can be at the beginning or at the end):
Yellow - orange-red;
Red – ultramarine;
Blue – pea;
Green – lemon;
Red – yellow-orange.
Let's look at one of them. As a rule, the most popular is golden, from yellow to red. We have four bright, rich, saturated colors - the power of expression of color tone. There are colors that are saturated in their pure form, and not when they are mixed with others: yellow, yellow-orange, orange, orange-red. We can enrich each of these colors by making them pastel (+ white) low-saturated (+ black), we get light yellow and pale golden (pastel), golden-greenish and red-brown (low saturated) colors. What a rich range.
Imagine. That we enriched each of these four colors of 100% saturation to at least three states (pastel, low-saturated, desaturated).
4. Primary assimilation of new knowledge. Doing practical work
We move on to the next stage of our work, watercolor painting.
Teacher - depending on the plan, we select a color scheme and begin working on a ready-made sketch (the sketch was prepared in the previous lesson). Create a decorative planar still life in polar colors.
During the practical work of students, the teacher conducts individual work with students on selecting a color scheme, distributing it on a plane, etc.
5. Initial check of understanding. Exhibition
So, your work is completed. But they will acquire their final form when they receive a worthy frame. There is a framing workshop at your service. (A stylized framing workshop is organized on one of the tables: pre-prepared frames made of colored paper) Choose the appropriate frame for your work, according to its color content, showing your taste and knowledge of color science. (Students come to the place with frames and select samples. Design the work, fixing them on the tablet. The teacher advises)
I invite you to stand up and look at each other's work. We had an impromptu opening day. Don't forget about "Mountain of Success". Perhaps each of you has a desire to move your sticker to a new place i.e. re-evaluate your capabilities after completing the work. ( Students look at work and work with stickers). Now let's discuss our impressions of the opening day. Whose works did you like the most? Whose work needs improvement in your opinion?
6. Primary consolidation. Assessment
The teacher evaluates each work from the position of an expert, noting its merits.
Students evaluate their work, noting weaknesses or problematic aspects, and also give advice and recommendations to each other.
7. Information about homework, instructions
on its implementation
Teacher:
Find an illustration or postcard, determine the color combination.
Students write down the assignment they receive.
8. Reflection (summarizing the lesson)
Teacher:
What difficulties did you encounter in choosing colors to match the multicolor harmony? (The choice of colors and shades in the sketch and the matching of colors and shades in the illustration)
Which stage was the most difficult? ( Start of work, determine the degree of completion)
Which stage was the most interesting? ( Detailing, designing work, viewing work and comparing yourself with others)
What prospects do you have for this type of artistic activity?
(There is a desire to repeat this work, write another)
Teacher:
THANK YOU FOR YOUR COOPERATION!
I WISH YOU SUCCESS!
BIBLIOGRAPHY:
Abramtseva M. A. Conversations and didactic games in fine arts lessons, grades 1-4. M. Vlados 2003
Buynov A. M., Elizarova E. M., Ioganson B. V. School of Fine Arts vol. 2nd ed. third, correct. and additional M.: Fine arts. 1988
Fine arts part 2, basics of painting textbook for students in grades 5-8. Obninsk publishing house "Titul", 1996
Kurochkina N. A. Getting to know still life publishing house “Childhood-Press” S-P. 1999
William Powell. Color and how to use it. M. Ast. Astrel 2005
INTERNET RESOURCES USED:
1. http://www.linteum.ru/article254.html
2. http://decko.ru/dizain/100-colorist
6.
7.
8. http://aversin.livejournal.com/11713.html
APPLICATION
TEXT SUPPORTS
POLAR HARMONY
PAINTING
STILL LIFE
WATERCOLOR
TRANSPARENCY
CHROMOTICITY
TONAL ACCENT
KEY TERMS
WATERCOLOR -(French aquarelle, from Italian acquerello, from Latin aqua water), paints (usually with vegetable glue) diluted with water, as well as painting with water paints.
ACHROMATIC COLORS - white, gray, black
HARMONY comes from the Greek word, which means consonance, agreement, the opposite of chaos, the law of beauty
HARMONY ONE TONE (in color science literature it is also called monochrome, i.e. one color) is based on a combination of shades of one color “ray”, which differ in lightness and saturation of one color. The overall color tone gives the color composition a calm, balanced character.
RELATIVE HARMONY based on the presence in them of impurities of the same main color. The main colors are: yellow, red, blue, green. These can be adjacent colors: red and red-orange, yellow and yellow-red, but not yellow and red.
HARMONY POLAR built on the opposition of two main colors. For example: red and green, yellow and purple. Polar harmony can combine several shades of the main polar colors. Many researchers consider this harmony to be the most comfortable for the eyes; this demonstrates our body’s desire for balance and self-defense.
HARMONY TRI-COLOR built on the opposition of three primary colors lying within intervals or three color harmonies built around them.
HARMONY MULTI COLOR in which, with a wide variety of colors, it is impossible to single out the main ones.
ADDITIONAL (CONTRASTING) COLORS - these are pairs of sharply opposite colors that mutually enhance each other's saturation (for example, orange and blue, purple and yellow, red and green).
PAINTING -viewfine artart, workswhom
are being created With with help paints, applied on what- or hard surface.
CONTRAST- contains a clear contrast between objects or flowers according to some properties.
MONOCHROME -monochromatic
NUANCE - means subtle, insignificant differences between objects or colors according to some properties.
SATURATION- this is the difference between a chromatic color and a gray color of equal lightness.
PRIMARY COLORS: yellow, red, blue.
STILL LIFE - This , subject which is the image household items, flowers, vegetables and fruits.
TRANSPARENCY -property of an object that allows light to pass through it without significant distortion
COMPOSITE COLORS:
orange, purple, green.
Composite colors are made by mixing two primary colors:
Orange = red + yellow
Purple = red + blue
Green = yellow + blue
All other colors consist of a mixture of these colors in different proportions.
Plus the difference in saturation and lightness.
TONAL ACCENT - highlighting part of a composition, image, object in order to attach great significance.
CHROMATIC COLORS -"colored"
COLOR HARMONY = COLOR EQUILIBRIUM.
COLOR TONE– the presence of a primary color in a complex color,
which determines its place in the color wheel.
The color tone is determined by the name of the color: scarlet, crimson.
Figure1>
Marina Andreeva
Painting lesson
In front of the children there was a set containing a jug, a mushroom, an eggplant, a pepper and cherries. All this was placed on a green drapery without folds.
4th grade, age from 12 to 14 years.
Lesson objectives
1. Place objects correctly on the sheet.
2. Build the jug correctly.
3. Convey the color tone in accordance with nature.
4. Development of the eye.
5. Development of the skill of relating objects to each other to accurately convey sizes.
Theoretical part.
Some children in this group are studying for the first year, so for them, explaining the nuances and requirements of the work was especially important. For a more solid assimilation of the material, comparisons that were easy to understand were used.
For example, each object is located in its place and at a certain distance from other objects. For this explanation, the example of the orbits in which the planets are located in the solar system was used.
Practical part.
The children determined the position of the sheet and began placing objects on the sheet. To begin with, a plane was determined (the table on which the objects will be placed.
Each child has his own particular vision of still life. Some enlarge objects, others make them smaller. Some move up, some down, some to the right or left. To avoid this, children were advised to make a mini-sketch in the corner of the sheet.
Working with color.
For the work to be holistic, you need to work with color with all objects at once, and not separately. Therefore, you can divide the work with color into stages.
1. Determination of the main tone of each object.
2. Identification of dark areas, light areas, highlights, shadows on a plane, on objects.
3. Analysis of each object in order to consider reflexes and shades.
4. Final stage. Generalization of objects, work with details.
Bottom line
The children finish their work and together with the teacher discuss the points - what worked and what didn’t. It is important to praise everyone for the work done. It is especially important for those children who are studying for the first year to understand that everything is working out for them.
At the end of the lesson, it becomes clear that each child specifically succeeds more and less. What should you focus on in your next lesson?
Ready-made children's work.
![](https://i1.wp.com/maam.ru/upload/blogs/detsad-361436-1449652456.jpg)
![](https://i1.wp.com/maam.ru/upload/blogs/detsad-361436-1449652465.jpg)
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Publications on the topic:
Purpose: To introduce children to the fact that vegetables also have juice and it has color. Show that if you drop juice on a cloth, it will become liquid when it dries.
Summary of the lesson “Into the forest to pick mushrooms and berries” for children 4–5 years old Summary of educational activities on educational field“Cognitive development” (Acquaintance with the surrounding world) On the topic: “V.
Notes on getting to know the outside world “Into the forest for berries” for children of the younger group Summary of a gaming session in the cognitive domain. Getting to know your surroundings. Educator: Melnichek S.V. March 25, 2015 Topic: “Into the forest for.
Basket with vegetables Recently, in our village of Akhtyrsky, Krasnodar Territory, a holiday was held called “Childhood Address - Kuban”. Here.
The master class is intended for teachers, parents - for working with older children preschool age. Purpose of the master class: manufacturing.
Familiarization with Petrykivka painting. Summary of GCD in the middle group “Twig with berries”“Twig with berries” Program objectives: 1. Introduce children to Petrikov painting. 2. Improve finger painting techniques and.
Project “Getting to Know Vegetables” Project type: educational. Project participants: children of the second junior group, teacher, parents. Implementation period:.
The topic of the lesson is “Painting”.
Lesson objectives:
Didactic: To promote the formation of knowledge about painting, its types, divisions.
Developmental: introduce the work of A. A. Plastov. To promote the development of creative thinking, emotional responsiveness, and the ability to describe pictures.
Educational: promote the formation of aesthetic taste; needs for independent communication with the visual arts; promote the development of communicative culture (the ability to communicate, the development of monologue speech); feelings of patriotism, love for one's Motherland.
Lesson methods: explanatory - illustrative, reproductive, partly - search.
Lesson forms: Frontal, group, individual.
Teaching aids and equipment: computer, projector, interactive whiteboard, handouts.
Formation of general competencies: 3. Make decisions in standard and non-standard situations and bear responsibility for them. 4.Search and use information necessary for the effective performance of professional tasks, professional and personal development. 6. Develop in a team and team, communicate effectively with colleagues, management, and consumers.
Lesson plan:
1. State the purpose of the lesson (2 min.)
II.Main part (40 min.)
1. Generalization and systematization of knowledge (terminological warm-up (4 min.)
2.Learning new material.
A) “Painting”, divisions of painting, types (10 min.)
B) Soviet art, report about A.A. Plastova (8 min.)
B) Description of reproductions (10 min.)
3.Secure the material.
A) description of the reproduction by students, according to the memo - hint (8 min.)
III. Final part - (3 min.)
1.Message about achieving the lesson goal.
2.Giving grades.
3.Homework.
During the classes.
I.Organization of the start of the lesson.
1. Greeting, message about the topic of the lesson, goals and objectives, (2 min.)
II. Main part.
1.Terminological warm-up (4 min).
The main concepts of the course are located on the board. Students give their definition.
1. Sculpture, 2. aesthetics, 3.list the types of cinematography,4.music, 5.architecture.
1. Translated from Greek. builder. The art of designing and constructing buildings and other structures (as well as their complexes) that create the organized material environment necessary for people to live and work.
2. The science of beauty, the laws of the emergence, functioning and evaluation of expressive forms in nature, society, and art.
3. feature films, short films, documentaries.
4.B translated from Greek as “the art of the muses.” A type of art in which the means of embodiment artistic images musical sounds organized in a certain way serve.
5. A type of fine art, the works of which have a three-dimensional, three-dimensional shape and are made of solid or plastic materials.
2.Learning new material.
A) The teacher reveals the content of the concept of “painting”. Divisions of painting, types of painting. (10 min.)
Painting (from Russian: live and write) is a type of fine art that consists of creating paintings, paintings that most fully and life-like reflect reality.
A work of art made with paints (oil, tempera, watercolor, gouache, etc.) applied to any hard surface is called painting. Main means of expression painting - color, its ability to evoke various feelings, associations, enhances the emotionality of the image. The artist usually draws up the color required for painting on a palette, and then turns the paint into color on the painting plane, creating a color order - coloring. According to the nature of color combinations, it can be warm and cold, cheerful and sad, calm and tense, light and dark.
Painting is one of the oldest and therefore interesting species art. Over the years, new techniques, materials and techniques have appeared, but painting, after centuries, remains the main tool for conveying unforgettable, completely natural or bizarre visual images. Painting can perform educational or documentary functions, but, above all, it allows you to admire the aesthetic possibilities and features of any style, the uniqueness of the master’s work, and each scene he captures. Painting is always self-sufficient - a high-quality frame only speaks about careful attitude to work, but it is a memorable picture that can become a real highlight of any interior.
Painting is divided into easel and monumental. The artist paints on canvas stretched on a stretcher and mounted on an easel, which can also be called a machine. Hence the name “easel painting”(slide). And the word “monumental” itself speaks of something big and significant. Monumental painting ( slide ) are large paintings on the internal or external walls of buildings (frescoes, panels, etc.). A work of monumental painting cannot be separated from its base (wall, support, ceiling, etc.). The themes for monumental paintings are also chosen to be significant: historical events, heroic deeds, folk tales, etc. Mosaics ( slide) and stained glass (slide ), which can also be classified as decorative art. What is important here is the achievement of stylistic and figurative unity of monumental painting and architecture, a synthesis of the arts.
Unlike painting as an independent type of fine art, the pictorial approach (method) can be used in its other types: in drawing, graphics and even in sculpture. The essence of the pictorial approach lies in depicting an object in relationship with the surrounding spatial light-air environment, in a subtle gradation of tonal transitions.
According to the techniques and materials used, painting can be divided into the following types: oil (slide), - one of the painting techniques using paints with vegetable oil as the main binder, tempera (slide) - paints prepared on the basis of dry powder natural pigments.Tempera paints are one of the oldest. Until the XV-XVII centuries. tempera paints were the main material for easel painting. Thus, the famous paintings of the sarcophagi of the ancient Egyptian pharaohs were made with tempera paints,wax (slide) -a type of painting technique in which wax serves as a paint binder, the works retain for many centuries the original freshness of the local color, the density and texture of the paint layer, enamel (slide) - the basis of the enamel is a glassy alloy - “fluten” - burnt tin and lead mixed with crushed glass, additives of potash, sodium, and sulfur. The color of the enamel is given by various metal oxides, adhesive (slide) - a type of painting technique in which glue serves as a binder for pigment. With a high content of glue in the paint, the surface acquires shine, the paint becomes more intense, fresco (slide)- a technique of painting with clean or lime water on fresh, damp plaster.In some cases it is difficult to separate painting from graphics. Works made in watercolor, gouache, and pastel can relate to both painting and graphics. Graphic arts(slide) – a type of fine art that uses lines, strokes, spots and dots as the main means of representation. When drawing graphics, they usually use no more than one color (except for the main black) in rare cases - two.
b) Soviet art, report by A.A. Plastov. (8 min.)
Soviet art can be proud of outstanding artists who determined the face of Soviet artistic culture. Such as:
Shishkin Ivan Ivanovich, Surikov Vasily Ivanovich, Vasnetsov Viktor Mikhailovich, Roerich Nikolai Konstantinovich(slides of artist portraits and reproductions).
Getting to know the work of A.A. Plastova. (slides of the artist’s paintings on the interactive board).
He is a magnificent master of complex paintings and sketches, an excellent illustrator, and an artist extremely versatile in his creative aspirations. At the same time, his art is distinguished by amazing integrity. This is explained by the fact that from the first steps his art is deeply and directly connected with the struggle, thoughts and feelings of his native people and, first of all, with the people whom he knows very well - the peasantry.
Biography report.
Arkady Alexandrovich Plastov
(1893-1972)
Born and raised in the village of Prislonikha, Ulyanovsk region. Here, having already graduated from the Moscow School of Painting, he became a peasant in the first years after the revolution. Here in the 1930s he devoted himself entirely to his favorite art. In 1931, when A.A. Plastov was about forty years old; his house and workshop in Prislonikha burned down. All his works were burned. But the artist did not lose heart and found the strength to create new works. This was the heyday of his creativity.
Plastov was a painter of the village, its native, its resident. He did not like to leave his native Prislonikha. He did not strive to move to Moscow, where he had once received a degree at the Stroganov Art and Industrial School art education. I remained true to myself and the path I had once chosen.
The life of his native village is a constant theme in Plastov’s paintings, although sometimes in them we will not find specific signs of this particular village and its inhabitants. Like any great artist, Plastov is a master of artistic selection and generalization, able to see in the concrete the general, inherent in time. Direct participation in it allowed this wonderful painter to avoid declarativeness and straightforwardness in his numerous works. His works are imbued with a living and reverent sense of reality. The viewer never doubts the real existence of Plastov's heroes. He is deeply concerned with the feelings that the artist expresses - a sense of pride in strength ordinary people, admiration for their selfless work in their native fields.
Plastov's art is bright, bold, life-affirming. This is explained by the artist’s penchant for depicting such aspects of life that reveal the optimism of the Russian person. In a scene of village labor or a noisy holiday, in an episode from the life of village children or a portrait of a young collective farmer - everywhere one can feel confidence in the spiritual fortitude of the Russian people, our contemporaries, filled with self-esteem and inner strength.
V) Description of reproductions by A.A. Plastov. (10 min.)
On the interactive board there are reproductions of “The Fascist Flew Over”, “The Tractor Drivers’ Dinner”, and “The First Snow” in turn.
... 1942, a terrible time of war, when the shadow of defeat had not yet disappeared beyond the horizon of history. Then Plastov created a painting that made him famous. “The Fascist Flew Over” is a terrible revelation of the horror and death of war. The blind cruelty of war framed by inappropriately beautiful nature. The blood of innocents, beating in the eyes, cutting in the heart. The cry of the artist’s soul, in which the ideals of Christian love and mercy were nurtured from early childhood. For Plastov, paradoxically, living in a country of militant atheism and being a recognized artist, whose works were regularly shown at all-Union exhibitions, remained a deeply religious man.
“The Fascist Flew Over” (1942)
Late fall. Low gloomy sky. Yellow leaves on thin young birches, reddish grass. A herd is grazing at the edge of the forest, and a peasant shepherd boy is running around...
But then a fascist plane flew by, and the pilot, pressing the car to the ground, senselessly brutally slashed with a machine gun... The boy fell to the ground and buried his head in the grass. The dog howled protractedly. The herd ran away. And over the field of winter crops awakening to life, gradually disappearing into the distance, a plane flew away...
It is difficult to say that the artist Plastov was an eyewitness to such a scene. Perhaps he had never seen such an episode. But that's not the point.
Severe pain and anger filled the artist’s heart. Soviet people died at the hands of fascist monsters. The war brought blood, death and tears. She burst into the distant corners of Russia and came to peaceful fields. Villages burned in the fires and cities were destroyed. The year was 1941. The enemy was approaching Moscow.
The artist felt the need to talk about the atrocities of the Nazis, about their senseless cruelty, about the murder of innocent children and old people. This is how the idea for the painting was born. Plastov had never achieved such depth of feeling, such emotional excitement.
Against a peaceful background native nature The crime committed by the Nazis looks especially monstrous and cruel. It was no coincidence that Plastov chose the autumn motif, which with its sad beauty figuratively sets off the tragic death of the shepherdess. The artist painted the slope of the hill to look like a precious carpet shimmering with warm tones. The gold of young birches, here and there the flashing red spots of autumn foliage, the green velvet of winter - all this is perceived as a beautiful musical accompaniment to a sad, tender, lyrical song, full of deep inner tragedy.
Teacher: There was nothing accidental or superfluous in this picture. Every detail is extremely simple and at the same time extremely expressive. Take a closer look at the picture, at its thoughtful, slightly sad, but so close to the heart national landscape. In these thin young birch trees, it seems, swaying in the wind, in this gray sky and distant fields - and you will feel a nagging feeling of pain and indignation, resentment and anger for the boy’s life cut short so early, for the desecrated land.
The student gives a description of reproduction.
"Tractor Drivers' Dinner" (1951)
Dusk is falling on the ground, the plowed field has darkened, and the light of the setting sun has painted everything in burning reddish-golden tones. Near the tractor, a tractor driver and a boy, his assistant, sat down for dinner; a girl in a neat white robe brought bread and milk to them in the field. Now the tractor drivers have a blissful moment of short rest (after all, they have to work at night): the eldest is cutting bread, the boy is watching the thick stream of fresh milk that the girl is pouring.
The artist devotes his work to depicting the labor of simple Soviet man, although I myself labor process and not shown. The viewer sees people who have worked a lot and successfully over a long day. It is clear to him that this work is not easy, that it required a lot of effort from both the tractor driver and the boy.
Plastov arranged the figures in a compact group, and this gave it greater integrity. A group of people sat on the ground overgrown with thick grass and wild wildflowers. And behind them lies the vast expanse of a freshly plowed field. This space extending to the distant horizon, above which the sky stretches, covered with whitish evening clouds, produces a majestic impression. It gives rise to a feeling of solemn peace, giving the picture an epic sound. The silence of the fields corresponds to the state of reverie in which the tractor driver is immersed, and to the silence of the girl and the guy. Nature, like people, enjoys peace after a sunny day.
Teacher: "Tractor Drivers' Dinner"- one of Plastov’s most poetic paintings. But it is not easy to answer the question of what is the secret of this poetry. Perhaps in the magical evening lighting, giving softness to the outlines of figures, landscapes, and objects. Perhaps in an amazing fusion of man and nature. And most likely, in the greatest simplicity of the plot motif, the appearance of people, and the landscape, simplicity, which is a high manifestation of the truth of life. In this canvas, Plastov avoids everything that could complicate the narrative, disrupt the measured, leisurely and soulful rhythm of the story. The composition of the picture itself is simple, the plane of which is divided into two almost equal parts: large figures of people below, a plowed field and a high sky above. Simple linear rhythms. The appearance of the people depicted is simple and unpretentious. Simple in their inexhaustible power, the heavy layers of earth and lush growth of grass painted by the setting sun.
In 1931, when A.A. Plastov was about forty years old; his house and workshop in Prislonikha burned down. All his works were burned. But the artist did not lose heart and found the strength to create new works. This was the heyday of his creativity. During this period, the painting “The First Snow” was painted.
The student gives a description of reproduction.
"First Snow" (1931)
In this painting, the artist managed to convey the feeling of joy from the first snow. Despite the fact that the background of the picture is dark, gloomy, and the gray low sky, damp houses, birch trees with the last leaves evoke melancholy, the first snow immediately transforms everything.
The plot of the picture is simple. The little boy got ready to go for a walk, went outside and saw the first snow falling in flakes to the ground. The kid ran back into the house and called his sister to look at the snowfall. The girl ran out onto the porch of the house in a light cotton dress, felt boots on her bare feet, and threw her mother’s scarf over her shoulders. She, eyes wide open, watches what is happening, like her brother. There are smiles on the guys' faces. Brother and sister rejoice at the first snow with the joy that is characteristic only of children. And the snow keeps falling and falling from the sky, covering the roofs of houses, the porch of a village house, and the road. A curious crow, walking importantly, still steps on the first snow with some apprehension. She is as surprised as the guys; perhaps this is the first time she has seen snow.
Teacher: This picture makes me feel happy because snow is so cool! I immediately remember my childhood, when we, being the same kids, rejoiced at the arrival of winter, and with it the first snow, caught snowflakes in our mouths, and made snowmen. Yes, this time has passed, but it will remain in our memory forever, and the painting “First Snow” will remind us of this wonderful time. It’s always nice to enjoy the purity of the first snow after a cloudy, dark autumn.
3.Secure the material.
A) There is a reproduction on the interactive board" Summer ". Students verbally describe the picture, relying on a reminder - a hint. (8 min.)
Reminder - hint:
1.Look carefully at the picture.
2. Try to catch and understand the mood conveyed by the artist.
3.What time of year is shown in the picture?
4. Characters of the picture: foreground, background.
5.What objects are shown in the picture?
“In the Summer” (1953-1954)
The artist’s favorite heroes are children.On the canvas the master depicted a sultry summer day.Mushroom pickers and their dog were located under a birch tree. In the foreground of the picture is a girl in a white dress and a red scarf. She sits on the grass, her bare legs stretched out, picking ripe berries from a branch and putting them in a mug. The girl's face is tanned, a blush plays on her dark cheeks. The girl's eyes are downcast. Dark hair comes out from under the scarf, falling onto her chest. Next to the girl, with his head on his paws, lies a dog. She is very tired and hot.
In the background is a tired grandmother in a blue dress and a blue scarf. The woman is dozing. She put one hand under her head and covered her face from the sun with the other. The woman's hand is drawn up very clearly. Her hand is tanned and strong, it is clear that this peasant woman is a hard worker.
On the grass there is a basket and a bucket filled with mushrooms. Nearby is a jug of ripe berries; you want to put them in your mouth and feel the sour taste of wild berries. We can conclude that the woman and the girl went into the forest to pick mushrooms and berries.
Mushroom pickers are located under a birch tree in a beautiful clearing. Some yellow flowers can be seen among the emerald grass. The bright rays of the sun fall on the leaves, and they appear golden.
Bright colors lift your spirits, looking at the picture, you remember the hot summer, inhale the smell of berries and flowers. It seems that we are in this beautiful clearing, where tired mushroom pickers are located.
III.Final part:
1. Summing up the lesson.
2. The teacher gives grades.
3.Homework:Prepare a description of a painting by your favorite artist.
Painting lesson outline
Children's teacher art school № 1
Sirazieva Sagida Favzievna
Location: Children's Art School No. 1
Lesson topic: Decorative still life (monochrome)
Execution time - 8 hours.
Lesson objectives:
educational: familiarization with the decorative technique of using gouache; deeper study of the possibilities of monochrome painting; development of the concept of tone in gouache painting;
developing: continued study of the “still life” genre; introduction to monochrome painting; emotional impact of contrasting tonal relationships;
educational: nurturing a love of painting in all its diversity; fostering perseverance and accuracy; nurturing a love for types of national decorative art.
Lesson type: learning new material.
Materials for the lesson: ¼ sheet paper, gouache, pencils TM, M, brushes, buttons, eraser, jar for water, palette for mixing paints.
Equipment for the lesson:
A visual aid with samples of work by third grade students.
Visual aid “The sequence of performing a still life in monochrome painting” (2 tables).
Visual material " Color circle».
Visual aid “Color harmony”.
Lesson Plan
Organizational part (5 min.).
Report of new material (25 min.).
Independent work(1 hour 70 minutes)
End of lesson and message homework(5 minutes.).
During the classes
Hello guys! (students say hello, I note those present).
The topic of our lesson is gouache painting, but not ordinary, but monochrome painting. There are many color harmonies in painting (show table). One of the types is monochrome. What is monochrome? (The guys answer the question). A type of painting, painting with limited color. Mono- (one) or one-color painting. Having one color, we can create beautiful works, not only compositions, but also still lifes. Look, guys, at the examples of monochrome painting in the junior grades and what results we achieve in the senior grades. Today we are getting acquainted not only with monochrome, but also doing work using decorative techniques. Last quarter we worked in painting techniques. How does painting technique differ from decorative technique? (by neatness, the introduction of patterns, i.e. decor, and painterly - we write with brush strokes). How we work in gouache painting (blackening, whitening). Take one color of your choice and stretch it with black and white paint. Look at the table where there is a tone stretch. We take the paint, mix it in deep recesses on the palette until it becomes a homogeneous mass, not thick and not liquid, and when applied to paper it should not show through. The sequence of work is shown in the visual aid. (I show on the palette how to mix and how to start working). Guys, we start the 1st stage of work with the background, stretching with white paint, then stretching with gray paint (table plane, tray), stretching with black paint (part of the teapot, tray). If desired, when the first registration is completed, we begin work with the ornament (the ornament on the background, the plane of the table, the tray and part of the teapot). We make the ornament first with a simple pencil, then gouache light on dark, dark on light, i.e. use contrast.
Independent work.
End of lesson. Analysis of works. Homework: sketches of compositions in monochrome on the theme “Heat”, “Cold”.
Lesson topic: “Still life from objects of different materials”
Teacher of special disciplines: Tyurenkova Olga Alekseevna
Place of work: MBOU DOD "Bryansk Children's Art School"
Item: Painting
Class: 6
Lesson topic and number: "Still life of objects of different materials." Lesson 2
Number of hours on the topic: 12 o'clock
Lesson duration: 40 min
Goals:
A)educational:
consolidate knowledge about the genre of painting “still life”;
to teach techniques for performing step-by-step work on a still life from life with large color-tone relationships in accordance with the rules and laws of conveying the form, volume, and materiality of objects in painting;
b)developing:
development creative imagination students;
development of imaginative thinking;
development of thinking abilities;
development of brush skills;
development of fine motor skills;
V)educational:
cultivate interest in the world around us, in the subject of “painting”;
cultivate a work culture, attention, perseverance, teach self-assessment of work performed.
Lesson objectives: carry out the initial stage of the color scheme of the still life, according to the stages of work on the still life; convey the color-tone relationships of large spots, the shadows of objects “own” and the shadows of objects in a still life using mixed media in watercolor.
Type of classes: combined:
a) explanatory and illustrative (conversation);
b) practical (student work).
Materials and equipment:
for the teacher:
Methodical manual “Step-by-step work on a still life using the watercolor technique” (4 sheets).
Creative works by students in grades 5-6 of the Bryansk Children's Art School on the topic “Still life from objects of different materials.”
Reproductions of paintings by artists on the theme “Still Life”.
for students:
watercolor paints;
preparatory drawing on AZ paper;
brushes No. 7, 5, 3;
paper palette;
buttons;
jars of water.
Lesson structure:
Organizational moment - 3 min.
Presentation of educational material - conversation, survey on the topic of the lesson, study of the stages of work on a still life - 12 min.
Independent work - 20 min.
Analysis of work - summing up the lesson - 4 min.
Completion of work - 1 min.
PROGRESS OF LESSON No. 2
Organizing time
Checking the presence of students. Preparing workplaces for the task, placing easels around the full-scale setting, securing sketches, placing tools, paints, palettes, brushes, jars of water.
Statement of the lesson objective
Presentation of educational material - survey on the previous lesson, conversation, study of the step-by-step execution of a still life in color according to the table.
Goal: to consolidate the knowledge gained in the previous lesson, to teach children how to begin the color scheme of a still life.
Questions for students (during the conversation).
What is painting?
“Painting is a type of fine art in which color plays a major role.”
Name the genres of painting known to us.
“Portrait, still life, landscape, animalistic genre, mythological genre.”
What is still life?
“Still life - dead nature (French). That is, a production made from inanimate objects, everyday objects, household items.”
We look at reproductions of still lifes by artists.
What do we see in these reproductions? etc.
Now let's look at our still life. We give color and tone characteristics of still life objects. We give a description of the texture of the objects from which the still life is composed.
We are once again convinced that color is the basis of painting:
firstly, color can be perceived in different ways and convey the beauty of the surrounding world;
secondly, color can express feelings, mood and emotional state;
thirdly, with color you can think and construct the shape of an object, convey texture and volume.
Today in the lesson we will do the beginning of the color scheme. The students completed the first stage of the still life - graphic construction. Preliminary sketches have been completed - searching for the composition of still life objects in sheet format. A preliminary sketch of the color scheme of the still life was completed.
The principle of working on a still life in watercolor is from dark to light. We are considering a teaching aid - “executing a still life in color.”
Stage two. The work will be performed in the following order.
First, we mentally arrange objects according to color tone - from the most saturated in color and lightness of the object in the still life to the lightest:
a) determine the most saturated object by color and tone in a still life. This is green drapery, blue drapery;
b) then we move on to objects that are less saturated in color and lightness (medium tonality). This is a light blue drapery, a teapot, an apple, a lemon;
c) determine the lightest object in the still life - a white ceramic cup.
We work according to the following scheme:
Own shadow on an object.
Falling shadow from an object on a plane.
Reflex on an object + touch with the background.
Penumbra on an object.
Light on the subject + touch with the background.
Let's analyze the sequence of work in color.
So, first we paint the green and blue draperies on the shadow side. Then we draw folds from the shadow side on the light blue drapery. Then we look at the apple and the teapot. These items are different in texture and significance. Let's start painting our own shadows on the teapot. The teapot is metal and has a shiny surface. There are dark places on it - rust. The apple is in the foreground. Painting our own shadow on an apple. Then we paint our own shadow on the lemon. Then we show shadow relationships on the lightest object of the still life - a cup.
It should be noted that each time you begin to depict the shadow part of each subsequent object in color, you must compare it with the shadow part of the previous one.
Then, in the same sequence, we compare the falling shadows, then the reflexes on the objects, then the penumbra on the objects and, finally, the illuminated parts of the objects in the still life.
In our work we move from the darkest and most saturated shadows (own and falling) of still life objects, taking into account the environment, to lighter ones, not forgetting that under artificial lighting the own and falling shadows have a cold tint.
Thus, your attention should be paid to identifying the difference in tone and shades of color, taking into account the fact that the closer objects are to us, the more contrasting they are in color and tone; the further you go, the more their color and shape soften, the saturation and contrast of color are lost.
Do not forget that we apply strokes according to the shape of the objects. All household items are the simplest combinations of geometric bodies. Let's turn to the manual - the students' works. Let's look at them. If the object reminds us of the shape of a ball, then the strokes are placed in a circle (in the shape of an oval), if a cylindrical or conical surface - then vertically or horizontally (at an angle), etc.
Independent work of students - 20 minutes, during which students complete the first stage of coloring a still life in mixed media with watercolors. During the lesson, students are given individual and face-to-face work.
Summing up the lesson -- exhibition of works. The most competently completed works are highlighted. The work is analyzed and individual (typical) errors are sorted out.
Grades are given for the lesson.
End of the lesson
At the end of the lesson, work areas are cleaned.
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