Methodological development lesson

on the subject of painting

in preparatory class

2nd year of study

on the topic “Still life. Drawing

still life from life"

Completed by: Kukushkina E.N.

Teacher

Municipal Educational Institution of Children's Art School Nei

Kostroma region

2013

Lesson topic: "Still life. Drawing a still life from life.

Target

Create a simple still life from life

Tasks:

Developmental: develop techniques for working with paints, the sequence of working on a still life.

Equipment:

For the teacher - a full-scale setting (still life against the background of a white sheet), a table “Still life (step-by-step work)”, sketches from life of vegetables and fruits (children’s work)

Visual range:

Lesson Plan

1. Organizational moment
2. Introductory conversation
3. Students working on the assignment
4. Lesson summary

Lesson progress:

1. Organizational moment

Checking students' readiness for the lesson. Positive attitude of children to the lesson.

1. Introductory conversation.

Remember genres fine arts. Next, one of the genres of art is considered - still life. (Illustrations are shown)

If you see in the picture

Miracle vase on the table,

It contains a bouquet of beautiful

Snow-white chrysanthemums;

There are a lot of dishes,

Both glass and simple,

Maybe a cup or saucer

With gilded border.

And this also happens:

Game is drawn there.

In conclusion we put

Ripe peaches and plums.

And also in the picture maybe

Drawn to be a cake.

And so the picture

It will be called a still life.

Still life – (translated from French – dead nature) – an image of inanimate objects. This word refers to a complex and diverse genre of fine art, as well as individual works that artistically reproduce household utensils, musical instruments, flowers, fruits, vegetables, dead game and other inanimate objects. Still life arose in connection with the development of realism in painting and, as the technical and cognitive capabilities of artists expanded, it was defined as an independent genre in the 17th century.

Still life serves various functions. For example:

Decorative - captures the colorfulness, grace and splendor of natural forms, somewhat exaggerating and transforming them, decorates the interior;

Thematic - depicts objects united by one theme (children's - includes toys, sports - attributes of sports, etc.

Still life speaks about the lives of people of different times; Even by drawing inanimate objects, you can express a lot, say something about people’s lives.

What can you tell by looking at this still life? (demonstration of reproduction) of a still life

Riddles:

Six porcelain friends

They stood in a circle on the tablecloth,

Wanted to in the evening

Treat us to some tea. (Cups)

My uniform shines brightly,

On the table I am the commander.

They know cups, a teapot;

I'm a big boss. (Samovar)

Two sisters: one big,

Semolina interferes with porridge.

Well, little sister

The tea is stirred loudly. (Spoon)

Just like a fist,

Red barrel,

You touch it – it’s smooth,

And if you take a bite, it’s sweet! (Apple)

Golden head

Big, heavy.

Golden head

She lay down to rest.

The head lay down

Only the neck is thin. (Pumpkin)

The golden sieve of black houses is full. (Sunflower)

In the summer in the garden, fresh, green,

And in winter they are yellow and salty in the barrel.

Guess it, well done

What's our name? (Cucumbers)

There are balls hanging on a branch,

Turned blue from the heat. (Plum)

Let's look at the illustrations, reproductions and answer the questions:

What is still life?

Which still life reproductions do you like best and why? Name the authors of the paintings.

What colors (warm or cool) predominate in them? Why?

What unites all the objects of one still life? (Topic, affiliation)

Why do paints differ in lightness when depicting fruits: some are lighter, others are darker?

How do artists convey the volume of vegetables and fruits on the flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and darker ones on the other? What role does sunlight play here? (sunlight, illuminating objects, makes them light on one side (this is light), and dark on the other (shadow). Light and shadow help convey volumetric image objects, their reality.)

Reflection

To reinforce the material, I suggest the game “Make a Still Life”. From the proposed objects in front of you, I propose to make still lifes and give them names. (Both strong and weak children participate)

Physical education minute

There was a basket on the shelf, idle (sit down, round your arms - imitate a basket)

She was probably bored all summer (head tilts, left and right)

Now autumn has come and the foliage has turned yellow, (stand up and draw tree branches)

The time has come to harvest. (stretch, pretend to pick fruit from trees)

The basket is happy (round your arms in front of you, nod your head)

She was surprised (spread her hands)

That there are so many fruits in the garden! (rise on your toes, show a large circle with your hands)

1. Students working on the assignment

Still life from life.

Today we have a still life of vegetables and fruits. This theme is “tasty” and it’s very pleasant to draw. Every fruit and vegetable has a basic shape, color that needs to be seen. They may be the same for different fruits and vegetables, but they have their own color and details.

Subsequenceperforming the work:

1. On preparatoryAt this stage, use a pencil to outline the contours of all objects using very light lines. It is advisable to draw without correction with an eraser, in any case, do not abuse it, because... The texture of the paper destroyed by the eraser darkens and dulls the color. Using the same thin lines we mark the boundaries of highlights and shadows of all still life objects and environments.

1. At the first stage Let's start working with paint with the general color characteristics of the still life; for this we will prepare a low-saturated mixture - a color scheme, which we will apply in a transparent layer to all parts of the drawing, excluding highlights.
2. At the second stage of painting, the three-dimensional shape of all objects is modeled and their illumination is conveyed. Using separate strokes we enhance the color saturation of the illuminated sides. The color of the shadows is solid and is influenced by the environment. They are laid with transparent, but darker paints. Each stroke applied to depict shadows must be taken in relation to the color of the adjacent surfaces of other objects and other shadows in terms of hue, saturation and lightness.

1. At the third stage We continue to model volumetric form and space with more subtle shades of color. We compare every stroke placed on paper with a still life, alternately moving our eyes first to the image, then to nature. This allows you to see whether the color proportion that exists in nature is conveyed. The depiction of color shades in light, penumbra, shadow gradually leads to a subtle modeling of shape, to the depiction of space and illumination.

1. At the last stage We generalize all the colors, if necessary, highlight some parts with a more saturated color, and extinguish the overly bright ones that break out from the general color scheme. The drawing is complete.

IV. Lesson summary

View and analyze completed work. Note the beautifully found combinations of colors in conveying the character of natural objects.

Analysis of common errors.

Cleaning workplaces.

Used literature:

• B. M. Nemensky “Fine arts and artistic work” grades 1-4 Moscow “Enlightenment” 2008
• E. Rozhkova “Fine arts in elementary school» Moscow “Enlightenment” 1980

Self-analysis of the lesson

in preparatory class (2nd year of study)

"Still life. Drawing from life a still life of two

items"

Goal and objectives:

Educational: to introduce students to the variety of forms of depicting the world of things in the history of art, to expand knowledge about the genre of still life, about the features of still life in painting, graphics, sculpture, and to teach how to depict various objects.

Developmental: develop techniques for working with paints.

Educational: to cultivate aesthetic sensitivity.

Equipment:

For the teacher - a full-scale setting (still life of two objects), a table “Still life (step-by-step work)”, sketches from life of vegetables and fruits (children’s work)

For students - watercolor, gouache, paper, brushes, graphic materials

Visual range:

I. Mashkov “Fruit on a Saucer”, A. Lentulov “Still Life”, V. Van Gogh “Sunflowers”, K. Korovin “Still Life. Flowers and fruits."

In accordance with the program, this topic is included in the section drawing from life. On the topic “Still life. Drawing a still life of vegetables and fruits from life” takes 2 hours.

The main purpose of this lesson is to give students knowledge about still life; teach how to depict objects in a still life using both graphic and pictorial means. The lesson consists of an organizational moment, presentation of new theoretical material, consolidation of the studied material, and independent work of children.

I prepared for the lesson in a timely manner, prepared all the visual material that will be needed during the lesson. The content, thematic focus and technology were fully consistent with the level of development of the class.

I used my study time rationally. The lesson began with an organizational moment, which began with the students’ working spirit for the lesson.

The presentation of new material - the main part of this type of lesson - is carried out using the method of explanation, story with elements of demonstration of reproductions. At this stage of the lesson, I explained to the students the concept of “still life” and introduced them to the types of still lifes. To improve efficiency educational process and so that children of this age would not lose interest in the lesson, I used riddles in the conversation.

I consolidated the new material in the form of the game “Make a Still Life”. Both strong and weaker children took part in this work. At this stage, the students’ knowledge that was acquired during the presentation of theoretical material was very clearly visible.

Before independent work, in order to preserve the health of the children, I conducted a physical education session.

At the independent work stage of the lesson, I explained to the children the sequence of working on a still life.

During independent work, the teacher provided individual assistance to students based on individual abilities. For better consistency in completing independent work, the educational table “Sequence of performing a still life in color” was used.

At the end of the lesson, I held an exhibition of students’ work, where the work was analyzed: what worked and what didn’t? I was clearly able to see how the students understood this topic. Student assessment.

The chosen forms of work are not accidental; they are exciting for children of this age and are of interest to them. I believe that the students’ perception of the goal was fully realized.

Lesson topic: Still life painting.

Objective of the lesson: Draw a picture in the still life genre.

Lesson objectives:

Educational:Systematize knowledge about the types and genres of fine art (still life)

 To develop graphic skills in depicting three-dimensional objects of simple shape and the ability to identify shades of “cold” and “warm” colors in order to develop artistic taste and observation

Developmental: - Develop visual representations and impressions of nature, a sense of proportion, proportionality (placing 2-4 objects on a sheet large)

Educational:

Foster a caring attitude towards nature;

Cultivate neatness.

Planned results:

Subject: Create a composition of objects based on your own design in a still life.

Cognitive UUD: logical

Regulatory: Compose depict

Communicative: Ability express judgments about artistic features works of art depicting still life.

Personal resultsAbility for artistic knowledge of the world; skillapply knowledge gained in one’s own artistic and creative activities.

Lesson type: Discovery of new knowledge.

Methods and techniques: conversation, story, illustrations, practical work.

Lesson equipment for the teacher: multimedia board, projector, presentation,B.M. Nemensky “Fine arts and artistic work” grades 1-4 Moscow “Enlightenment” 2008

Lesson steps	Didactic task of each stage of the lesson	Contents of the stage		Planned results of the lesson stage	TsOR
		Teacher activities	Student activities
Organizational moment	Including children in activities The mood for work in poetic form	Hello guys. Let's start our lesson with the lines E. Ruzhentseva People are used to seeing the world White, yellow, blue, red... Let everything around us be Amazing and different!
The stage of preparing students for active and conscious perception of new material.	Lead to the topic of the lesson	Today we will go to interesting country. To find out the name of this country, guess the riddle. If you see in the picture Miracle vase on the table, It contains a bouquet of beautiful Snow-white chrysanthemums; There are a lot of dishes, Both glass and simple, Maybe a cup or saucer With gilded border. And this also happens: Game is drawn there. In conclusion we put Ripe peaches and plums. And also in the picture maybe Drawn to be a cake. And so the picture It will be called... In a fairy-tale land where wizards and sorceresses live, there lived a little girl, Elsa. One day, when the girl was basking in the sun, the fairies told her about the arrival of the Wizard. The girl really loved drinking hot tea with sweets. And therefore, she rather hurried to see the old man, who had a lot of delicious honey candies. There was so much delight in her eyes in anticipation of the sweet gift that she would put in her mouth and drink with hot tea from a beautiful cup that she didn’t even notice how she found herself in his palace. The elder gave Elsa a task: If Elsa revealsthe secret of still life , she will receive the coveted candies. Elsa didn't know what to do! She never painted still lifes! But the little fairy decided to help Elsa. And she said: If you want to know the secret of Still Life, you must know a few rules.	Still life
Discovery of new knowledge	To interest students in cognitive activities Contribute to the formation of ideas about still life	Rule 1: Still life - (translated from French - dead nature) - an image of inanimate objects. This word refers to a complex and diverse genre of fine art, as well as individual works that artistically reproduce household utensils, musical instruments, flowers, fruits, vegetables, dead game and other inanimate objects. Still life serves various functions. For example: Decorative, household, abstract, graphic, pictorial, computer, volumetric. Still life speaks about the lives of people of different times; Even by drawing inanimate objects, you can express a lot, say something about people’s lives. Let's look at the illustrations, reproductions and answer the questions: What is still life? Which still life reproductions do you like best and why?? Name the authors of the paintings. What unites all the objects in one still life? Why do paints differ in lightness when depicting fruits: some are lighter, others are darker? How do artists convey the volume of vegetables and fruits on the flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and darker ones on the other? What role does sunlight play here?	They look at the board and listen to me. Still life is an image of objects on a plane Caravaggio “Fruit Basket” because I love fruit and there are warm colors Topic, position Because some lie in the foreground, closer to the light source, they are lighter - sunlight, illuminating objects, makes them light on one side (light) and dark on the other (shadow). Light and shadow help convey the three-dimensional image of objects, their reality.	Cognitive UUD : competent and clear expression of your thoughts; logical - analysis of illustrations, identification of genre characteristics;
Physical education minute	Take off fatigue	But first, let's rest a little. Get up from your desk and repeat the movements after me. We kick, stomp, stomp. We kick, stomp, stomp, (stomp) We clap-clap-clap our hands, (clap) We'll nod our heads, (nod) Let's wave our hands together , (we wave our hands) And here and there we can turn without difficulty . (perform half turns in one direction and the other) We'll jump high, jumping together is so easy , (jump on the spot) And here and there we can turn without difficulty . (perform half turns in one direction and the other) Have a seat.	They get up from their desks and repeat the movements.
Stage of application of the studied material ( creative activity students).	Apply the acquired knowledge of students in practice in depicting a rainbow	- And now we will draw a still life. Today we have a still life " Festive table" This theme is “tasty” and it’s very pleasant to draw. Every fruit, vegetable, object has a basic shape and color that needs to be seen. They may be the same for different fruits and vegetables, but they have their own color and details. You need to add a joyful mood to the still life and get to work. Let's look at examples of still lifes that are depicted in a joyful tone. Subsequence performing the work: Using a pencil, use very light lines to outline the contours of all objects. We “revive” a still life with paints. We summarize all the colors, if necessary, highlight some parts with a more saturated color. We wait until the paint dries.		Compose composition of objects according to certain rules,depict still life in presentation with a pronounced mood.
Summing up. Reflection	Analyze and evaluate the success of achieving goals	Elsa received her long-awaited sweets, which means our journey was not in vain. What did we do in class today? What is a still life? Raise your hand, those who think that they have created a still life? Guys, look how many different and beautiful drawings you did it. Well done! You all worked hard today. Thank you for the lesson. Goodbye!	Drew a still life Still life - image inanimate objects, combined into a single composition Raise your hand who has created a still life	Regulatory: mastering the ability to accept and maintain a learning task; developing the ability to plan, control and evaluate one’s activities;

GOU SPO Russian College traditional culture St. Petersburg

Lesson plan for the discipline “Painting”

Subject: “Still life of objects simple in form, different in materiality. »

Lesson topic: “Drawing a still life for painting”

Group 319 N

Teacher:

Saprykin V.G.

Lesson topic: “Drawing a still life for painting”

Lesson Objectives:

Educational:

Teach the basic principles of linear construction of objects;

Apply the acquired knowledge when making drawings for painting from life.

Developmental:

Develop analytical skills, logical and constructive thinking;

Promote the development of creative abilities and aesthetic perception of the world.

Development of fine motor skills.

Educational:

Learn to self-assess work performed;

Be able to find answers to questions asked;

Instill a taste for graphics.

Lesson objectives:

Apply knowledge of perspective when drawing;

Determine the proportions and reveal the plasticity of objects in a still life.

Didactic teaching aids:

Material on drawing techniques.

Material support for the lesson:

Easels, chairs, tablets, paper, pencils of varying softness, eraser.

Lesson type: practical lesson

Lesson structure:

1. Organizational moment - 5 minutes.

2. Introductory part (setting goals and objectives, a short survey on the work performed) - 10 minutes.

3. Individual work with students - 10 minutes.

4. Independent (practical) work of students - 15 minutes.

5. The final part (analysis of the work performed, summing up the lesson) - 5 minutes.

Lesson progress:

Lesson stage		Techniques, methods	What do students do	What does the teacher do?
Organizational 1. Check for student presence. 2. Check students' readiness for class.		Verbal Self-organization and self-government of students	Greet the teacher. The group leader reports those who are absent. Preparing the workplace.	Greets students. Checks those present. Appoints duty officers. Determines readiness for the lesson.
Updating knowledge 1. State the topic of the lesson. 2. Communicate learning goals and objectives. 3. Brief survey on completed work.		Informational (story, conversation) Reproduction of student knowledge	Get acquainted with the lesson plan. Included in the working rhythm of the lesson. They answer questions and complement each other’s answers.	Announces the topic of the lesson. Talks about goals and objectives. Describes the significance of this work. Asks questions about the material covered.
Individual work with students		Practical and visual explanation Comments and verbal explanation	Answer questions. Monitoring the correction of mistakes made.	Corrects mistakes made by the student while completing the assignment and talks about them. Explains how to avoid these mistakes.
Practical (independent) work		Acquisition of knowledge, skills and abilities.	Draw a still life for painting. Carry out self-control.	Checks self-control.
Consolidation Summing up		Comparative analysis Explanation of results	Works are shown. Comment on the result obtained.	Checks the quality of the completed task. Analyzes the most significant errors and shortcomings in the work.

GOU SPO Russian College of Traditional Culture

Technological map

(Training lesson plan)

Academic discipline: “Painting”

Topic (section): “Still life from objects of simple shape.”

Number of hours per topic: 36 hours

Serial number of the lesson according to the plan: No. 25-28

Teacher: Saprykin V.G.

1. Topic plan: 2. Layout in a sheet. 3.Search for the character of objects. 4.Resolution of pictorial relations. 5.Work on details. 6.Completion.	Didactic goals: Ensure student learning Rules and principles of construction, compositional laws of depicting objects in format, Painting skills. Sense of color and flavor.
Learning Tools: Visual material (books, drawings); Material on painting techniques.	Ways of activity: 1. Drawing and painting of a still life. 2. Study and analysis of visual material 3. Independent execution of a simple still life sketch.
Forms of training Lessons 21-24,25-28,29-32,33-36,37-40,41-44,45-48,49-52 - practical work Lesson 53-56 - combined.	Material summarization system Execution of a picturesque solution to a still life.
Literature 1. Aksenov K.N. Drawing. (To help the graphic designer). - M., Panorama, 1990. 2. Kirtser Yu.M., Drawing and painting: Textbook. - 2nd ed., revised. and additional - M.: Higher. school, 1997. 3. Lee N.G. Drawing. Basics of academic drawing: Textbook. - M., Eksmo, 2010.	Types of control 1. Current 2. Thematic Forms of control 1. Individual 2. Front Control methods 2. Practical 3. Independent

LESSON PLAN IN PAINTING

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 of students' creative imagination;

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 in mixed media watercolor works.

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 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

Organizational moment

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, household items, 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 methodological manual- “making 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, and the color saturation and contrast 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.

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 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.Grading.

3.Homework.

Progress of the lesson.

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 form 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 involves creating pictures, paintings, most fully and life-like reflecting 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.). Work monumental painting cannot be separated from its base (wall, support, ceiling, etc.). The themes chosen for monumental paintings are also significant: historical events, heroic deeds, folk tales, etc. Mosaic ( slide) and stained glass (slide ), which can also be attributed to decorative arts. 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. Graphics(slide) – a type of fine art that uses lines, strokes, spots and dots as the main visual means. 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 outstanding artists, which determined the face of the 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 an art education at the Stroganov Art and Industrial School. 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 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 Christian love and mercy were nurtured with 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 autumn. 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 the backdrop of peaceful 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 work of ordinary Soviet people, although he himself 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. A 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 that the artist conveyed.

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, picks ripe berries from a branch and puts them in a mug. The girl's face is tanned, a blush plays on her dark cheeks. The girl's eyes are downcast. They are getting out from under the scarf dark hair, falling on his 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 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. Bright rays the sun falls on the leaves and they seem 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.