Still life is one of the genres of fine art dedicated to the reproduction of household items, fruits, vegetables, flowers, etc. The task of the artist depicting a still life is to convey the coloristic beauty of the objects surrounding a person, their volumetric and material essence, and also to express his attitude to the objects depicted. Drawing a still life is especially useful in educational practice for mastering the art of painting, since in it a novice artist comprehends the laws of color harmony, acquires the technical skill of pictorial modeling of form.As an independent genre in art, still life appeared at the turn of the 16th - 17th centuries. in Holland and Flanders, and since then has been used by many artists to convey the direct connection between art and people's life and everyday life. This is the time of the artists who glorified themselves in the genre of still life, P. Klas, V. Kheda, A. Beyeren and V. Kalf, Snyders, etc.

Still life is the most favorite genre in the art of many contemporary artists. Still lifes are painted in the open air, in the interior, simple and complex productions, traditional and highly modernly arranged sets of objects from everyday life.

In a still-life painting, artists strive to show the world of things, the beauty of their forms, colors, proportions, to capture their attitude towards these things. At the same time, a person, his interests, cultural level and life itself are reflected in still lifes.

Composing a still life involves the ability to depict the shape of various objects using chiaroscuro, perspective, the laws of color.

The main composition of a still life is such a selection of objects in which the general content and theme of it are most clearly expressed.

There are several types of still lifes:

- plot and thematic;
- educational;
- educational and creative;
- creative.

Still lifes are distinguished:

- by color (warm, cold);
- by color (close, contrasting);
- by illumination (direct lighting, side lighting, against the light);
- by location (still life in the interior, in the landscape);
- by the time of performance (short-term - "blotch" and long-term - many hours of performances);
- on the formulation of an educational task (realistic, decorative, etc.).

Still life in a landscape (in the open air) can be of two types: one - composed in accordance with the chosen theme, the other - natural, "casual". It can be either independent or be an integral part of a genre painting or landscape. Often a landscape or a genre scene only complements the still life.

Still life in the interior assumes the arrangement of objects surrounded by a large space, where the objects of the still life are in subordination with the interior to the plot.

Subject-thematic still life implies the unification of objects by theme, plot. A thematic still life is a complex work of art, with the help of which you can tell about the hobbies, views, worldview of the owner of the objects.

Educational still life. In it, as in the plot and thematic, it is necessary to agree on objects in size, tone, color and texture, to reveal the design features of objects, to study proportions and to identify the patterns of plasticity of various forms / 5, p. 57 /. Educational still life is also called academic or, as mentioned above, staged. An educational still life differs from a creative one by a strict goal setting: to give students the basics of visual literacy, to promote the activation of their cognitive abilities and to involve them in independent creative work.

In a decorative still life, the main task is to identify the decorative qualities of nature, to create a general impression of elegance "A decorative still life is not an accurate depiction of nature, but a reflection on this nature: it is the selection and imprinting of the most characteristic, rejection of everything random, the subordination of the structure of a still life to a specific task of the artist" ...

The basic principle of solving a decorative still life is the transformation of the spatial depth of the image into a conditional plane space. At the same time, it is possible to use several plans, which must be located within a shallow depth. The educational task facing the student in the process of working on a decorative still life is to "identify the characteristic, most expressive quality and enhance it in its decorative processing, in the decorative solution of the still life you should try to see the characteristic in it and build on this processing."

Decorative still life makes it possible for future designers of the architectural environment to develop a sense of color harmony, rhythm, quantitative and qualitative proportionality of color planes, depending on their intensity, lightness and texture, and generally activates the creative forces of students.

1.Painting and its features

1.1 Types of painting

1.2 genres of painting

2.Still life and its role in the genre environment of paintings

2.1. The concept of still life and types of still life

2.2. The history of the emergence of still life

2.3. Features of still lifes by Russian artists

Conclusion

Bibliography

1.Painting and its features.

1.1 Types of painting.

The word "painting" is derived from the words "lively" and "write". “To paint,” Dahl explains, “to depict correctly and vividly with a brush or with words, with a pen.” For a painter, to depict correctly means an accurate transfer of the external appearance of what he saw, its most important features. It was possible to correctly convey them by graphic means - line and tone. But it is impossible to convey vividly with these limited means the multicolor of the surrounding world, the pulsation of life in every centimeter of the colored surface of an object, the charm of this life and constant movement and change is impossible. Painting, one of the types of fine art, helps to truthfully reflect the color of the real world.

A wide variety and completeness of phenomena, impressions, effects that painting is capable of embodying. The whole world of feelings, characters, relationships, experiences is available to painting. She has access to the most subtle observations of nature, eternal ideas, impressions, subtle shades of mood.

The task of painting is not only to show something, but also to reveal the inner essence of what is depicted, to reproduce "typical characters in typical circumstances." Therefore, a true artistic generalization of the phenomena of life is the basis of the foundations of realistic painting.

Types of painting.

Painting is subdivided into monumental, decorative, theatrical and decorative, miniature and easel painting.

Monumental painting is a special kind of large-scale paintings that adorn the walls and ceilings of architectural structures. She reveals the content of major social phenomenawho had a positive impact on the development of society, glorifies and perpetuates them, helping to educate people in the spirit of patriotism, progress and humanity. The sublimity of the content of monumental painting, the significant size of its works, the connection with architecture require large color masses, strict simplicity and laconic composition, clarity of contours and generalization of plastic form.

Decorative painting is used to decorate buildings, interiors in the form of colorful panels, which, with a realistic image, create the illusion of a wall breakthrough, a visual increase in the size of a room, or, on the contrary, deliberately flattened forms confirm the flatness of the wall and the enclosure of space. Patterns, wreaths, garlands and other types of decor, adorning works of monumental painting and sculpture, link together all the elements of the interior, emphasizing their beauty, consistency with architecture.

Theatrical and decorative painting (scenery, costumes, make-up, props, made according to the artist's sketches) helps to deeper reveal the content of the performance. The special theatrical conditions for the perception of the scenery require taking into account the many points of view of the audience, their great distance, the influence of artificial lighting and colored lights. The scenery gives an idea of \u200b\u200bthe place and time of the action, activates the viewer's perception of what is happening on the stage. The theatrical artist strives in sketches of costumes and make-up to sharply express the individual character of the characters, their social status, era style and more.

Miniature painting developed greatly in the Middle Ages, before the invention of printing. Handwritten books were decorated with the finest headpieces, endings, detailed illustrations, miniatures. The painting technique of miniature was skillfully used by Russian artists of the first half of the 19th century to create small (mostly watercolor) portraits. Pure deep colors of watercolors, their exquisite combinations, jewelry subtlety of writing distinguish these portraits, full of grace and nobility.

Easel painting, performed on an easel machine, uses wood, cardboard, paper as a material basis, but most often canvas stretched on a stretcher. An easel painting, being an independent work, can depict absolutely everything: actual and fictional by the artist, inanimate objects and people, modernity and history - in short, life in all its manifestations. In contrast to graphics, easel painting has a richness of color, which helps emotionally, psychologically, multifaceted and subtly convey the beauty of the surrounding world.

In terms of technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, pastel. These names came from a binder or from the method of using material and technical means.

1.2 Genres of painting.

Painting genres (fr. Genre - genus, species) is a historically established division of works of painting in accordance with the themes and objects of the image. In modern painting there are the following genres: portrait, historical, mythological, battle, everyday life, landscape, still life, animalistic genre.

Although the concept of "genre" appeared in painting relatively recently, certain genre differences have existed since ancient times: images of animals in caves of the Paleolithic era, portraits of Ancient Egypt and Mesopotamia from 3000 BC, landscapes and still lifes in Hellenistic and Roman mosaics and frescoes. The formation of the genre as a system in easel painting began in Europe in the 15th-15th centuries. and ended mainly in the 17th century, when, in addition to the division of fine art into genres, the concept of "high" and "low" genres appeared, depending on the subject of the image, theme, plot.

A genre of fine art that reflects the external and internal appearance of a person or a group of people is called a portrait. This genre is widespread not only in painting, but also in sculpture, graphics, etc. The main requirements for a portrait are the transfer of external similarities and the disclosure of the inner world, the essence of a person's character.

A genre of fine art dedicated to historical events and characters is called a historical genre. The historical genre, which is characterized by monumentality, developed for a long time in wall painting. From the Renaissance to the 19th century. the artists used plots from ancient mythology and Christian legends. Often, real historical events depicted in the picture were saturated with mythological or biblical allegorical characters.

The battle genre (from the French bataille - battle) is a painting genre that is part of the historical, mythological genre and specializes in depicting battles, military exploits, military actions, glorifying military valor, the fury of battle, the triumph of victory. The battle genre can include elements of other genres - everyday, portrait, landscape, animalistic, still life.

The genre of fine art, showing scenes of everyday, personal life of a person, everyday life from peasant and urban life, is called a genre genre. The appeal to the life and morals of people is already found in the paintings and reliefs of the Ancient East, in antique vase painting and sculpture, in medieval icons and books of hours. But the everyday genre stood out and acquired its characteristic forms only as a phenomenon of secular easel art.

The genre of fine arts, where the main thing is the image of nature, the environment, views of the countryside, cities, historical monuments, is called a landscape (fr. Paysage). Distinguish between rural, urban, architectural, industrial, marine (marina) and river landscape.

The genre of fine art showing animals is called the animalistic genre (from the Latin animal - animal). The animal painter pays attention to the artistic and figurative characteristics of the animal, its habits, the decorative expressiveness of the figure and silhouette. Animals are often endowed with human traits, actions, and experiences.

2. Still life and its role in the genre environment of paintings.

2.1. The concept of still life and types of still life.

A genre of fine art that shows objects of everyday life, labor, creativity, flowers, fruits, game, caught fish, placed in a real household environment, is calledstill life (French nature morte - dead nature).

The genre of still life is very rich and interesting. Considerable experience has been accumulated in this genre. Objects are reliably depicted, their beauty and unique pictorial qualities are conveyed.

There are different types of still lifes:

1. still life of plaster geometric bodies.

2. still life of household items, simple in form.

3. a still life of household items, simple in shape in color.

4. still life from objects of similar color.

5. still life of objects of contrasting colors.

6. still life of dark objects.

7. still life of white objects.

8. still life in the interior.

9. still life in the open air.

Along with the genre of everyday life, still life has long been considered a secondary type of painting, in which it is impossible to express high social ideas, civic virtues. Indeed, much of what is characteristic of works of historical, battle and other genres is inaccessible to still life. However, the great masters proved that things can characterize both the social status and the lifestyle of their owner, giving rise to such images, various associations and social analogies.

Still life is used as an educational setting, the primary stage in the study of nature during the period of apprenticeship. Professional artist often refers to this genre as to a pictorial sketch from nature. Still life, as not one of the genres of painting, represents a characteristic of so many opportunities for practicing formal pictorial searches. It can also become an independent painting, revealing in its own way the eternal theme of art - the theme of human existence. Such a capacity of functions of the still life genre makes painting of inanimate objects a sphere of searching not only for forms and content, but also of searching for the artist's personal view of the environment, his understanding and feeling of life, and the development of his own style.

The joy of direct communication with nature, a living source of fine art, takes on a special meaning in working on a still life. "Still life is one of the painter's poignant conversations with nature." In working on a still life, no one distracts the artist, forcing him to focus on his own painting, because the beauty and depth of an expressive image in a still life depends on the beauty, depth and expressiveness of pictorial speech, the acuteness of the associations that this image gives rise to in the viewer. The understanding of simple objects as a particle of reality makes this wonderful genre of painting so.

The world of things in still life is always designed to reveal their objective originality, unique qualities, beauty. At the same time, it is always the human world, which expresses the structure of thought and feelings, the attitude towards the life of people of a certain society.

What is the difference between this genre and others? What can a painter give a picture of inanimate things?

Unlike portrait painting, dealing only with a person, or a landscape that recreates nature and architecture, a still life can consist of various things of a person's household and personal use, elements of the plant world, works of fine art and much more.

Still life, more than any other genre, eludes verbal descriptions; a still life must be carefully watched, examined, immersed in it, since it teaches us to comprehend the painting itself, to admire its beauty, strength, depth - this is the only way to comprehend the true content of any picture, its image.

In still life, the painter turns to the world of inanimate things, distinguishing them from all the wealth of the surrounding world.

Still life is distinguished by special principles of building a composition, with all the differences in historical and individual forms of this genre at different stages of its development. Objects here are usually taken close, so that the gaze can, as it were, feel them, assess, first of all, their actual material qualities - their heaviness, plastic forms, relief and surface texture, details, as well as their interaction with the environment - their life in the environment. The scale of a composition in a still life is usually focused on the size of a small room thing, from which there is a greater intimacy of a still life in comparison with other genres. At the same time, the very form of the still life is deep and multi-tiered, polysyllabic, meaningful: the structure of the still life, staging, choice, point of view, state, nature of interpretation, elements of tradition, etc.

In still life, the artist not only depicts an object, but through them expresses his representation of reality, solves a variety of aesthetic problems.

The essence of the "content" of a still life (according to B. Wipper) is in relation to a person and an object in the sense of the objectivity of life, the nature of matter ... This is "in a certain sense, a whole worldview, a certain understanding of visibility, a sense of reality."

To these words, one can only add that objects are the language the artist speaks, and he must be fluent in this language.

As an independent genre of art, still life has a strong effect on the viewer, since it evokes associative ideas and thoughts during the perception of inanimate objects, behind which people of certain characters, worldviews, different eras, etc. are seen.

The influence of a still life depends primarily on the correctly chosen and correctly disclosed topic, as well as on the peculiarities of the creative individuality of a particular artist.

Still life, like no other genre, is directly related to the relationship to the image, to the solution of a certain visual problem.

With all the diversity, the huge number of forms of variety, still life remains a "small genre", but this is precisely what is valuable, because it draws painting, first of all, to itself and its eternal values \u200b\u200band problems.The world of things in still life is always designed to reveal their objective originality, unique quality, beauty. At the same time, it is always the human world, reflecting the structure of thoughts and feelings, an attitude towards life. Subjects are the language the artist speaks, and he must know this language. In a bunch of greenery, the painter expresses the fullness of life, in a sea shell - the sophisticated skill of nature, in kitchen utensils - the joy of everyday work, in a modest flower - the whole universe.

Still life is "not only an artistic task", but also a whole worldview. The world of things is the human world, created, formed and inhabited by man. This makes the still life, with all the outward modesty of its motives, a genre deeply meaningful.

A household item, warmed by the warmth of everyday communication with people, allows you to touch their life in a more tangible and intimate way than is possible in an expanded plot picture. Things in painting, of course, do not always appear in the "hard" genre of still life specially dedicated to them. They enliven and fill rooms in picturesque images of interiors, sometimes play no less role than people in genre or historical scenes, finally, they often accompany a person and in a portrait.

Still life is, first of all, objects that are organized thematically, connected with semantic content and carry a certain idea.

They can be divided into two large groups: natural objects (flowers, fruits, food, fish, game, etc.) and things made by human hands.

Features of natural objects of still life - their fragility. As a rule, they belong to the natural world (although there are exceptions). Torn from their natural environment, they are doomed to a quick death, flowers wither, fruits rot, game spoils. Therefore, one of the functions of this genre is to impart immutability to the changeable, to consolidate an unstable beauty, to gain the passage of time, to make perishable things eternal.

Human-made objects are usually made of durable materials: metal, wood, ceramics, glass, they are relatively stable, their shapes are stable.

The difference between made things from natural objects lies in the content side that they play in a still life. To a much greater extent, they serve as a characteristic of a person and his activities, bring social content into a still life, and give it a place for the theme of labor and creativity.

With all the differences between natural and artificial objects, they have common features that allow them to organically combine these objects in a still life. Both are part of the interior, relatively small in size, harmoniously combined with each other (vases and flowers, dishes and fruits). The main thing that unites them is the impact on a person.

The huge variety of the world of things endlessly expands the content possibilities of still life.

By introducing images of paintings, engravings, drawings into it, elements of other genres can be introduced: portrait, interior landscape - creating new, peculiar spatial, semantic and decorative relations.

Still life is also often enriched with the image of paintings (on trays, cups), small sculptures (busts, statuettes; bas-reliefs, carvings on vases), etc.

Mirrors provide rich pictorial, spatial and meaningful effects.

In addition to household items, clothing has a so-called iconic essence. This feature is very important, since without taking it into account, it is impossible to understand the still life and its possibilities.

Features of still life images, conveying through inanimate objects the traits and characters of people, time is the main compositional activity of the artist in this genre.

Still life as such does not objectively exist; it is invented, composed, assembled, specially in order to be depicted. It does not matter that it can have a completely lifelike real appearance.

All compositional work focuses on the placement of the still life within the picture plane. Depending on the nature of the still-life group of its height and width, the depth of space, the degree of contrast of objects in size and color, the format and dimensions of the plane are determined, the position of the compositional center is the tonal and color solution, the search for the most optimal composition in which questions of balance will find their solution is underway, proportional relationship.

In organizing the composition, they use various types of rhythms - linear, tonal, color. Contrasts play a special role. By highlighting certain areas of the image, they make them more noticeable, then fading. The work, built on spruce of noticeable fluctuations of light and shadow, without definite "flashes" that accentuate the viewer's attention, seems monotonous, monotonous, devoid of pictorial expressiveness. Sharp-sounding contrasts create tension, dynamics, as opposed to symmetry, a dynamic image is built on sharp shifts of the center towards the composition to the axis of the picture plane. In these cases, the rhythms are aimed at achieving visual balance of the masses.

Rhythm organizes the image. Included in the structural foundation of still life, it creates a visual framework that guides our perception. By visually comparing some elements of the image with others, we highlight the main ones and focus on them.

Format issues basically depend on the concept, which, in turn, expresses the nature of the grouping of objects, its proportions.

The subtleties of the format search include finding out the amount of free places on the left and right, below the group of objects. The concept in the still life suggests the nature of the solution to the space in the still life. This is due to the peculiarities of the color system. The nature of the spatial solution is also related to the amount of relatively free space left to right.

As a rule, in a still life, the main group of objects is placed in the second spatial plan, where the plot compositional center is located. The goal of achieving, the relationship of the composition of a group of objects with the format is the rhythmic solution of the picture plane, the alternation of spots, pauses, balance with the picture plane with the definition of a semantic compositional center, the placement of secondary parts, with the search for color and tonal contrasts.

Also, the effects of solving a composition both in a still life created on the basis of an idea and when working with a special kind of staging depends on the need to take into account different levels of vision and the features of a perspective construction. Different levels of vision for the production allow the artist to see the best unexpected variant of the compositional solution, which carries the novelty of the aesthetic perception of famous objects.

The painting plane can be used as a decorative composition, where it is necessary to maintain the impression of a plane, and color plays a major role. In this case, it is necessary to pay attention to the nature of the color scheme, to the strength of its emotional impact.

An important role in creating a holistic still life composition is played by bringing the color scheme in the work to coloristic unity, which is the highest quality of painting. The color scheme of the still life composition can be warm or cold.

Color is the soul of painting, painting does not exist without color. Not perceived by color, we still do not know, in essence, this work. That is why any monochromatic reproduction of a painting takes away the main thing from the point of view of means of expression. Color is the life of painting. The most important function of color in painting is to bring to the limit both the sensual reliability of the image and the semantic and emotional expressiveness of the work.

The concept of color is inextricably linked to the definition of light. In artistic endeavors, accept the narrow definition of light as an energetic radiation that is perceived visually. Color is the fraction of light that is perceived by our eyes directly from a source or when it reflects off a surface. The color of a surface depends on what kind of light it is illuminated with, and on how much of the light energy is reflected from this surface.

The surface that reflects all rays of light, scattering them in all directions is white, the surface that absorbs almost all the rays is black, the surface that reflects part of the light energy and absorbs steel is colored.

Color has a number of characteristics such as hue, lightness, saturation. Color can also evoke non-color sensations, such as freshness, lightness, coolness, and even aroma.

Knowledge of how the scientific and theoretical foundations of color science are used in organizing a painting gives painting the opportunity to scientifically substantiate the creative techniques of various masters, and, accordingly, find ways to teach these techniques.

But knowledge alone does not lead to success. Only by working practically, mixing different colors, studying their behavior in interaction, we can learn all their properties.

All the variety of colors in the work is subject to the artist's intention and the general color. The artist transforms the richness of color observed in reality into a holistic harmony. This color unity of the picture is called coloration.

Color decides the first impression a painting makes; depending on it, the viewer walking through the gallery stops or passes by. To make a great impression at first glance, all trivial or artificial effects must be avoided; calmness and simplicity must dominate the entire work. This is greatly aided by the breadth of uniform and clean colors. An impression of greatness can be achieved in two opposite ways. One - reduces the color to almost one chiaroscuro. Another is to give colors very clearly, definitely and intensely, but in both cases, simplicity remains the basic principle. Although it can be admitted that the exquisite harmony of color, the gradual transition of some tones to others means to the eye the same as exquisite harmonies in music to the ear.

The coloring of the paintings can be sustained in various color scales. This is how they distinguish between pinkish color, color, sustained in blue, golden and other scales. Here, coloration means that all colors of the work have similar shades or the same shade.

Also, the color of the picture can be expressed by colors close to each other or contrasts. Color is also spoken of in relation to the variety of shades of color found by the artist. Here we are dealing with the terms "richness" and "poor color".

Thus, the concept of color encompasses all the relationships of the colors of the picture in terms of the number and variety of shades, in the strength and intensity of color, in harmonious combinations, etc.

Different painters used their colors to solve different problems. The color of the work depends on the idea of \u200b\u200bthe picture, on what feelings the artist wanted to express.

2.2. The history of the emergence of still life.

Still life, a term so familiar to denote a certain genre in the visual arts, appeared in the 18th century. Early paintings, reproducing certain inanimate objects, were usually called the German word "Immobile nature". Still life as a genre of painting originated in Europe at the border of 16-17

centuries, but its prehistory began much earlier. Along with the genre of everyday life, still life has long been considered a secondary type of painting, in which it is impossible to express high social ideas, civic virtues. However, the great masters proved that things can characterize both the social status and the lifestyle of their owner, thus giving rise to various associations and social analogies.

the painter Pernacos, who lived in the Hellenistic era. It is possible that his paintings served as models for frescoes in Pompeii. These are bright and juicy images of flowers, fruits, as well as ritual vessels, writing instruments, coins.

The most common type of still life is

image of household items. This type of still life, closely associated with the development of the genre of genre, interior, landscape, blossomed brightly in the Western European art of the 17th century. Each national art school in its own way, originally solved this problem. For example, the 17th century Dutch still life is striking in its richness of themes. In every artistic center of the country, painters preferred their compositions: in Utrecht - from flowers and fruits, in The Hague - from fish. In Haarlem they wrote modest "breakfasts", in Amsterdam - luxurious "desserts", and in the University of Leiden - books and other objects for studying sciences and traditional symbols of worldly vanity - a skull, a candle, an hourglass.

In still lifes dating back to the early 17th century, the objects are arranged

in strict order, like exhibits in a museum showcase. In such pictures, details are endowed symbolic meaning: apples remind of the fall of Adam, and grapes - of the atoning sacrifice of Christ. The shell is a shell

left by a creature that once lived in it, wilted flowers are a symbol of death.

A butterfly born from a cocoon means resurrection. These are, for example, the canvases of Balthasar van der Ast (1590-1656)

For artists of the next generation, things no longer so much remind of abstract truths as they serve to create independent

artistic images. In their paintings, familiar objects acquire a special, previously unnoticed beauty. The type of still life, called "breakfast", acquired the most perfect and complete features in the work of the painters of the Haarlem school Peter Claes and Willem Heda. They became the creators of a national still life depicting laid tables lined with a modest set of objects typical of the family of the Dutch burgher of the 1630s –1640s. The intimacy, simplicity and seriousness of these works reflect the everyday life, tastes, sympathies and moods of the first generation of the Dutch bourgeois who grew up in a free, independent country.

Haarlem painter Peter Claes (1597-1661) subtly and skillfully emphasizes the originality of each dish, glass, pot, finding an ideal neighborhood for any of them. The still lifes of his fellow countryman Willem Klas Kheda (circa 1594 - circa 1680) are picturesque disorder. Most often, he wrote "breakfast interrupted." A crumpled tablecloth, confused serving items, food that has barely been touched - everything here reminds of the recent presence of a person. The paintings are enlivened by diverse light spots and multi-colored shadows on glass, metal, linen ("Breakfast with a crab", 1648)

In the second half of the 17th century, the place of the modest "breakfasts" of Klas and Kheda

will occupy the richer and more spectacular "desserts" by Adrian van Beyeren and Willem Kalf. Their canvases depict grandiose pyramids made of expensive dishes and exotic fruits. Here and chased silver, and blue faience, and goblets from sea shells, flowers, grape bunches, semi-peeled fruits. In these still lifes, the loving attention to the peculiarities of each object, the ability to subtly juxtapose material and texture, a variety of compositions, exquisite colorful combinations, virtuoso skill in conveying each object are striking.

Paintings look like a sharp contrast to these small canvases.

flemish artists of the same time. These are huge decorative still lifes depicting juicy and ripe fruits, fruits, dead poultry, wild boar and deer heads, butchered meat carcasses, various fish, from the most common to rare and exotic species. The author of these paintings was Frans Snyders (1579 - 1657), and the canvases themselves constitute an original and peculiar type of still life, called "shops" ("Fish Shop", "Fruit Shop", "Still Life with a Swan"). Snyders lovingly and skillfully conveys the color, shape, texture of objects, arranging the gifts of nature in unexpected combinations and in harsh lighting, and combines them into luxurious decorative and integral cycles of paintings.

The artistic doctrine of classicism attributed the still life to the number

low genres, but it was in the 18th century in France that

magnificent canvases by J. B.S. Chardin (1699 - 1779). The master was familiar with the Dutch and Spanish traditions of this genre, but his attitude to still life is unique and original. For his paintings, he chose several very simple objects ("Copper Tank", "Pipes and a Jug"), composing a strict and clear composition of them. The artist's colors are either bright or muted, in the manner of Rococo. Chardin was the first to paint the very flesh, the matter of things with their true color, instead of painting them.

Interest in still life increased significantly in the second half of the 19th century. Impressionists in France put an emphasis on the pictorial perception of the world of things, solve the problems of light-color relations, often interpret a still life as a kind of decorative panel.

Post-impressionists (P. Cezanne, V. Van Gogh, A. Matisse) in still lifes

accentuate the freshness of the first impression, develop complex problems of compositional and color solutions of the picture. The extraordinary coloristic expressiveness of A. Matisse is visible in the works: "Sunflowers in vases" - warm colors; "Fruit and Coffee Pot" - cold scale; "Blue Pot and Lemon" is the dominant color. P. Cezanne in his still lifes superbly used the properties of cold tones to go into the depths, and warm ones - to move forward ("Fruits", "Still Life with Apples", "Peaches and Pears"). He also argued that "everything in nature is molded in the form of a ball, cone, cylinder ..."; the spatial perception of an object depends on its color.

Since the beginning of the 20th century, still life has become a kind of creative

painting laboratory. Fauvism masters follow the path of sharpening the identification of emotional and decorative-expressive possibilities of color and texture, while representatives of Cubism (P. Picasso) approve new ways of conveying space and objects: they construct volumes on a plane, dismember forms into simple geometric bodies, perceived from different points of view, use harsh, almost monochrome tones, and then introduce collages into the paintings - various powders, pieces of newspaper and other materials.

In foreign still life of the middle and second half of the 20th century,

works of the Italian painter D. Morandi, characterized by soft

contemplative mood, clear compositional constructions, faded colors. Social tendencies are reflected in the expressive works of the Mexicans D. Rivera, D. Siqueiros, the Italian R. Guttuso.

2.3. Features of still lifes of Russian artists.

The first Russian still lifes - "trompe l'oeil" - by G. Teplov and T. Ulyanov appeared in Russia in the 18th century. "Deceptive" still lifes depicting objects hanging on a wooden wall and bookshelves are distinguished by the fact that the artists tried to bring the illusion to the limit - the viewer had to be deceived, take the image for nature. The still life talked about the circle of occupations of intellectual artists (reading, playing music, hobby for art, business correspondence) and just about household items.

At the beginning of the 19th century, there was a fashion for "botanical still life" - these were still lifes of F. Tolstoy: "Berries of red and white currants", "Bouquet of flowers, a butterfly and a bird." At the end of the 19th century - at the beginning of the 20th century, still life leaves the landscape genre. Artists admire objects not so much for their own beauty as for their involvement in a beautiful world full of air and light. New still lifes emerge from under the brush famous landscape painters, eg; I. Levitan "Dandelions"; I.E. Grabar "Chrysanthemums", "Vase with phlox"; K. Korovin “Still life. Roses "," Lilac "," Bouquet on the seashore ".

At the beginning of the 20th century, Russian still life flourished. K. Korovin

and the masters of the "Jack of Diamonds" association create major, juicy

works glorifying the full-blooded beauty of life. The works of Ilya Mashkov perfectly demonstrate the peculiarities of “Russian Cezanneism”. His still lifes are pieces of life, these are the most ordinary objects, but presented from their best side. In the still life "Blue Plums", the artist tried to convey the juicy blue of the fruits and their elastic form. In other works “Moscow food. Breads ”the master strove to draw attention to the beauty of the colors themselves - thick and very bright.

In Soviet art of the 20-30s and in subsequent years, over

the following artists worked with still lifes: P. Konchalovsky, A. Kuprin, A. Lentulov, M. Saryan, A. Osternin, A. Gerasimov. Peculiar in style, reflecting the essential features of the modern era, still lifes were created in the 40-50s by P. Kuznetsov, Y. Pimenov. In the 60-80s, the tendency towards increased objectivity of the image, the desire to aestheticize the world of things around a person was observed in the still lifes of V. Stozharov, A. Nikich.

Very peculiar still lifes of representatives of pop art, who proclaimed after the dominance of abstractionism "return to reality." Their works reproduce household items, packaging of goods, machine parts and are designed for a variety of associations in the viewer.

Educational still life.

Educational still life - staging of objects of different color, shape, structure, aimed at improving the perception of materials of objects by young artists. Educational still lifes are thematic, genre, light and dark, aimed at studying a particular structure of materials. For example, setting their 7 bottles of different colors and glass densities. Purpose: to convey the difference in materials. Or White vase with a white flower on a white background. Purpose: to catch the difference between white objects, etc.

Scientist still life.

The genre of "scholarly" still life that originated in the University of Leiden is called "vanity of vanities" or "memento mori" and is the most intellectual type of still life, requiring the viewer to know the Bible and the traditions of religious symbolism (paintings by Peter Stenwijk and David Bailey are characteristic). Often in the still lifes of this direction there are illusionist techniques that create a skillful optical illusion. In turn, the enthusiasm for the illusionist transfer of nature led to the emergence of a special type of still life - the so-called "trompe l'oeil" (trompe l'œil). Such still lifes were especially common in the middle of the 17th century and gained incredible popularity in the country and abroad.

Floral still life.

Since the 40s of the 17th century, still life in Dutch painting has become widespread as an independent genre. Floral still life was one of the first to stand out in the works of artists such as Ambrosius Bosschaert the Elder and Baltasar van der Ast, and further continued its development in the luxurious still lifes of Jan Davids de Hem and his followers in the second half of the 17th century. The reasons for the popularity of flower still life can be found in the peculiarities of everyday life in Dutch society - the tradition of having gardens, country villas or indoor plants - as well as favorable natural conditions for the development of floriculture.

Contemporary still life.

The main task of the artist is to reveal in modern still life that beauty that is not noticed in ordinary life. A fabulous view of a still life painting against a background of mountains at sunset, such still lifes are usually painted not from nature, but according to the artist's imagination.

The work of contemporary artists belongs to the era of postmodernism. For its definition, the expression "contemporary art" has also been used recently. This includes works from the early 1970s to the present day.

1970 was a turning point in the history of the visual arts. It was then that the term "postmodernism" appeared. In addition, from this point on, art movements became very difficult to classify. This is due to the set of tools and technical innovations that have become available to contemporary artists. Distinctive feature contemporary art also his social orientation.

In recent years, the very term "contemporary art" has come to be identified in Russia with certain features of avant-garde art. For example, Russian contemporary portrait painters more often use the technical capabilities of photography, the Internet and computer programs in their work, combining such modern technologies with some social challenge, non-standard vision of the world, sometimes exaggerating colors and raising even in such a seemingly static genre as portrait , deep social problems. Their creative research can be viewed as a search for alternatives to postmodernism, which is expressed in the use of high-tech means and materials to depict reality.

In any gallery, in any private collection, in any interior there are still life paintings. A symbol of comfort, a creator of a mood, an indicator of taste - still life today is perhaps one of the most popular genres of painting. The aesthetics of Russian still life is characterized by perfection of painting techniques, spirituality and liveliness of “dead nature. The personal, reverent attitude of the artist to the banal objects of life, the ability to reveal the secret meaning with this objective world are the components of the art of the still life painting. To put your innermost into this riot of colors, the play of light and shadow can only true master painting.

In Soviet times, still-life paintings became an ideological outlet for many artists who did not glorify the regime. As a way of self-expression, the paintings of the artists "still lifes" are a kind of chronicle of the creativity of the outcasts of the Soviet artistic world... Contemporary artists are engaged not in ideological struggle, but in pure creativity.

Still lifes of contemporary artists can be divided into two categories: those that directly depict traditional objects (things, food, flowers) and those that have a deep symbolic meaning. Interest in the latter is fueled by deep social messages and ideas encoded in them.

Contemporary artists:

Artist Nikolay Mazur.

His works are striking in their realism, mastery of color, accurate composition.

Painter Mazur Nikolai Vladimirovich was born in the city of Krasnoyarsk. Has been professionally engaged in painting for over 20 years. Participant of numerous exhibitions

The artist prefers the still life genre in the style of realism.

Artist Alexey Antonov.

The painter Alexei Antonov was born in Russia in 1957;

From early childhood, he showed creativity. Already at the age of 3 he painted his first paintings

He has a unique realistic writing technique, respect for details.

Since 1990 he has been living and working in the USA.

Conclusion

This genre allows you to create a certain mood, image using simple objects. Throughout its history of development, still life contained symbolism, that is, certain objects had a certain meaning. With the help of this genre, artists convey their attitude to the world around them.

Therefore, especially in recent years, when the question of the formation of national self-awareness has arisen, great attention has been paid to the national - cultural worldview, aesthetic development, and they began to study art in more depth and in detail as a factor influencing the development of the young generation of our country.

Still lifes dedicated to folk art reveal the history of our country, its traditions, which allows us to form patriotism and national identity.

Still lifes add to the eternal, to culture.

Using various means of expressiveness in a still life, the artist shows us his feelings, his attitude to what is depicted.

The still life expresses the attitude of a person to the world around him. It reveals that understanding of the beautiful, which is inherent in the artist as a person of his time.

The art of a thing has long, long before its transformation into an independent area of \u200b\u200bartistic creation, has been an integral part of any significant work. The role of a still life in a painting has never been limited to simple information, an accidental addition to the main content. Depending on historical conditions and social needs, objects more or less participated in the creation of the image, shading one or another side of the concept.

Compared to a thematic painting or landscape in a creative still life, the artist has more freedom to dispose of the arrangement of objects, which, if necessary, can be swapped, moved, removed, and finally, changed the level of vision for the production.

Observing the surrounding reality, the artist pays special attention to those objects that are attractive by their shape, color, that is, aesthetic content. The law of compositional integrity is based on the peculiarities of visual perception.

The expressiveness of the image is inextricably linked with the manifestation of the law of contrasts, which, in turn, is based on the laws of human vision and the peculiarities of visual perception of reality.

The tone solution of a still life is usually based on the contrast of dark objects on a light surface or, conversely, on the contrast of light objects on a dark surface. When comparing the relationship between objects, you need to achieve the correct black and white gradations, the peculiarity of which is that each object has its own tone, different from others. Contrasts should not be forgotten either. The closer the object is to the light source, the brighter the light and shadow contrasts appear on it.

Thus, working with a still life requires good artistic and aesthetic taste, knowledge of the laws of composition, contrasts, tones and shades of light and shade.

Still life is an artist's confession. And he cannot but be a poet. Poetry is the state in which he lives and lives constantly. Excitement is what inevitably manifests itself in the picture, if it accompanied its creation. Cold art is dead. You cannot imitate feelings, pretend that you are experiencing. You have to love and worry.

Reflecting the beauty of objects of the surrounding nature or things created by human labor, still lifes can excite us no less than genre paintings.

Bibliography:

Bolotin I.S. Problems of Russian and Soviet still life. M., 1989.
Vipper B.R. Articles about art - M.; 1972.
Vipper B.R. The problem of still life. Kazan, 1992.
General History of Arts - M .; 1972.
Vybornova G. The role of lighting in still life. - Painter; 6.184.
Gerchuk Yu.Ya. Living things - Soviet artist; - M .; 1977.
A.P. Gusareva, Konstantin Korovin - Soviet artist;
Kantor A.M. Subject and Environment in painting - Soviet artist.
7. Kuznetsov Yu. Western European still life - Soviet artist.
Neklyudova M.G. Traditions and innovations in Russian art of the end
XIX - early XX centuries - Art .; - M .; 1991. Yu. Rakova M.M. Russian still life of the late XIX - XX centuries - Art .;
10.Puchkov A.S., Trisselev A.V. Method of working on a still life -Education, 1982.
Rakova M.M. Russian still life of the late XIX - early XX century. M., 1970
12. Shitov L.A., Larionov V.N. Painting - M .; - Enlightenment.

The program of the course provides for the study of the basics of painting literacy on the example of still lifes and their depiction by means of painting in different materials.

1. Types of still lifes

Still life(fr. nature morte lit. dead nature) - in the visual arts - the image of inanimate objects, in contrast to portrait, genre, historical and landscape themes.

Still life is one of the genres of fine art dedicated to the reproduction of household items, fruits, vegetables, flowers, etc. The task of an artist depicting a still life is to convey the coloristic beauty of the objects surrounding a person, their volumetric and material essence, and also to express his attitude to the objects depicted. Drawing a still life is especially useful in educational practice for mastering pictorial skills, since in it a novice artist comprehends the laws of color harmony, acquires the technical mastery of pictorial form modeling.

As an independent genre in art, still life appeared at the turn of the 16th - 17th centuries. in Holland and Flanders and since then has been used by many artists to convey the direct connection between art and people's life and everyday life. This is the time of the artists who glorified themselves in the genre of still life, P. Klas, V. Kheda, A. Beyeren and V. Kalf, Snyders, etc.

Still life is the most favorite genre in the art of many contemporary artists. Still lifes are painted in the open air, in the interior, simple and complex productions, traditional and modernly arranged sets of objects from everyday life.

There are several types of still lifes:

- plot and thematic;

- educational;

- educational and creative;

- creative.

Still lifes are distinguished:

- by color (warm, cold);

- by color (close, contrasting);

- by illumination (direct lighting, side lighting, against the light);

- by location (still life in the interior, in the landscape);

- by the time of performance (short-term - "blotch" and long-term - many hours of performances);

- on the formulation of an educational task (realistic, decorative, etc.).

Still life in a landscape (in the open air)can be of two types: one - composed in accordance with the chosen topic, the other - natural, "random". It can be either independent or be an integral part of a genre painting or landscape. Often a landscape or a genre scene only complements the still life.

Still life in the interiorassumes the arrangement of objects surrounded by a large space, where the objects of the still life are in plot subordination with the interior.

Subject-thematicstill life implies the unification of subjects by a theme, a plot.

Educational still life... In it, as in the plot and thematic, it is necessary to coordinate objects in size, tone, color and texture, to reveal the design features of objects, to study proportions and to identify the patterns of plasticity of various forms. Educational still life is also called academicor, as mentioned above, staged... An educational still life differs from a creative one by a strict goal setting: to give students the basics of visual literacy, to promote the activation of their cognitive abilities and to involve them in independent creative work.

IN decorative still lifethe main task is to identify the decorative qualities of nature, create a general impression of elegance.Decorative still life is not an accurate depiction of nature, but a reflection on this nature: it is the selection and capture of the most characteristic, rejection of everything that is accidental, subordination of the structure of a still life to a specific task of the artist.

The basic principle of solving a decorative still life is the transformation of the spatial depth of the image into a conditional plane space. At the same time, it is possible to use several plans, which must be located within a shallow depth. The educational task facing the student in the process of working on a decorative still life is to “identify the characteristic, most expressive quality and enhance it in its decorative processing, in the decorative solution of the still life you should try to see the characteristic in it and build processing on this.

1. Rules for drawing up a still life

Drawing up a still life must begin with an idea. Through comparative analysis, they come to the determination of the most characteristic features of the form and generalization of observations and impressions. It must be remembered that each new object in the production is "a new measure of all things included in it, and its appearance is like a revolution: objects change and change their relations, as if they are entering another dimension."

It is important to choose a certain point of view correctly, in accordance with a certain educational task, i.e. horizon line (foreshortening). The next stage of drawing up a still life is the arrangement of objects in the space of the subject plane, taking into account the idea of \u200b\u200bgrouping in the composition.

One of the items should become the compositional center of the production and stand out in size and tone. It should be placed closer to the middle of the setting, and can be moved to the right or left to make the setting more dynamic (movement of the spots).

With the spatial solution of a still life, in the foreground in the form of an accent, you can put a small object that differs in texture and color from other objects. To complete the composition, as well as the connection of all objects into a single whole, draperies are added to the production, thus emphasizing the difference between hard objects and the soft flowing texture of fabric. The fabric can be smooth and patterned or patterned, but it shouldn't distract attention from others, especially main items. It is often placed diagonally to direct the view from the viewer into depth, towards the compositional center for a better spatial solution.

An important role in the composition of a still life staging is played by lighting - artificial or natural. The light can be side, directional or diffused (from a window or with general illumination). When illuminating a still life from a window (if the objects are placed on a windowsill), there will be a silhouette solution of dark on light, and part of the color will disappear if the still life is solved in color. The tonal difference in objects is more noticeable in diffused light.

When starting to work on a painting, you need to pay attention to the following basic requirements.

1) The lighting is even, diffused, falling from the left side, so that the shadow from the hand does not cross the sheet. It is unacceptable for a sheet of paper to be illuminated by the sun's rays.

2) The sheet must be placed no closer than at arm's length. When working, it is advisable to move away from the sketch or leave it to be viewed from a distance. This technique allows you to more clearly see your mistakes or successes.

3) The object of the image (model) should be located slightly to the left of the student's workplace at such a distance from which it can be seen as a whole. The larger, the greater the distance between it and the image.

4) Long sketches of performances are performed on paper stretched over a tablet.

The work begins with the compositional placement of the image on a sheet of paper. Previously, the student must examine the still life from all sides and determine from which point of view it is more profitable (more effective) to place the image on a plane. Before starting painting, the student must familiarize himself with nature, note its characteristic features, understand the general flavor of the production.

The study of nature begins with direct observation. The student first visually becomes familiar with nature, and then his attention switches to its proportions, the nature of the form, movement, lighting, color and tone. This preliminary observation of nature serves as a stepping stone to a detailed analysis of the object.

The image begins with a light pencil sketch. It is necessary to avoid premature loading of the sheet with unnecessary spots and lines. The form is drawn in a very generalized and schematic manner. The main character of the large form is revealed.

The student's task is to learn to separate the main from the secondary. So that the details do not distract the beginner's attention from the main character of the form, it is proposed to squint the eyes so that the form looks like a silhouette, like a common spot, and the details disappear.

When working on still lifes, both “a la prima” techniques and multilayer (2-4) painting with glazes are appropriate.

When all the details are outlined and the image is carefully modeled in tone and color, the generalization process begins.

At the last and most crucial stage of work on the production, the student sums up the work done: he checks the general condition of the image, subordinates the details to the whole, generalizes the color scheme. At the final stage of the work, it is advisable to return again to a fresh, original perception.

The challenge is not blind copying, but the need for a creative approach to depicting nature.

INTRODUCTION ...................................................................................................3

1.1. ...............................................................................................6

1.2. ..................................................................9

2.1. ...................17

2.2. .................................................................................20

2.3. Stages of work on a still life .................................................24

2.4. ..............................................29

CONCLUSION .........................................................................................32

LIST OF REFERENCES ......................................................................34

INTRODUCTION

The relevance of research. In the formation of a child's personality, various types of artistic and creative activities are invaluable: drawing, modeling, cutting out figures from paper and sticking them, creating various designs from natural materials, etc.

Such activities give children the joy of learning, creativity. Having experienced this feeling once, the child will strive in his drawings, applications, crafts to tell about what he learned, saw, experienced.

Characteristic feature art - a reflection of reality in artistic imagesthat act on the consciousness and feelings of the child, educate in him a certain attitude towards the events and phenomena of life, help to cognize reality more deeply and more fully. The influence of art on the formation of a person's personality, its development is very great. The child's soul is predisposed to the perception of beauty, the child is able to subtly feel painting.

The visual activity of primary schoolchildren as a type of artistic activity should be emotional, creative character... The teacher must create all the conditions for this: he must first of all provide an emotional, imaginative perception of reality, form aesthetic feelings and ideas, develop imaginative thinking and imagination, teach children how to create images, the means of their expressive performance.

According to the methods of teaching fine arts, the first stage of education in a general education school should, through art, lay the foundations of artistic, aesthetic perception of the phenomena of the surrounding reality. For four years of primary education, it is necessary in the consciousness and emotional development of the child to create the foundation of artistic representations, on which he can rely in all further education. From the very beginning of teaching, the teacher must create a "situation of assimilation" around the topic of the lesson. atmosphere of joy, participation of children in the process of perceiving the material, and the need for active creative feedback when performing the practical work of each task.

The artistic activity of schoolchildren in the classroom finds various forms of expression: images on a plane and in volume, decorative and constructive work; perception of phenomena of reality and works of art (slides, reproductions); discussion of the work of comrades, the results of their own collective creativity and individual work in the classroom; study of artistic heritage; search work of schoolchildren on the selection of illustrative material for the topics studied; listening to musical and literary works (folk, classical, modern).

The learning process should be aimed at the development of children's fine art, at the creative reflection of impressions from the surrounding world, works of literature and art.

Research object this course work is still life as a means of developing fine skills.

Study subject is a method of teaching still life to younger students.

Objective - to consider the peculiarities of the methodology for teaching still life drawing to younger students.

In accordance with the goal, the following were set tasks:

1. consider still life as a genre of fine art;

2. to determine the role of art in the development of a primary school student;

3. to study the organization of pedagogical work to familiarize children with still life;

4. to identify the stages of work on a still life;

5. consider the rules for drawing up a still life.

Theoretical basis work served as research Komarova T.S. Kosminskaya V.B., Khalezova N.B., Maksimova Yu.V. and etc.

Research methods:

1.analysis of scientific and methodological literature on the research problem;

2. Purposeful observation of the development of children, analysis of existing programs and scientific and educational documentation.

Work structure - introduction, two chapters, conclusions and bibliography.

CHAPTER 1. STILL LIFE AS A GENRE OF FINE ARTS

1.1. Features of still life as a type of fine art

Still life (fr. Naturemorte, literally dead nature) - in fine art - the image of inanimate objects, in contrast to portrait, genre, historical and landscape themes.

As an independent genre in art, still life appeared at the turn
XVI - XVII centuries in Holland and Flanders, and since then has been used by many artists to convey the direct connection between art and people's life and everyday life. This is the time of the artists who glorified themselves in the genre of still life, P. Klas, V. Kheda, A. Beyeren and V. Kalf, Snyders and others.

Composing a still life involves the ability to depict the shape of various objects using chiaroscuro, perspective, the laws of color.

The main composition of a still life is such a selection of objects in which the general content and theme of it are most clearly expressed.

There are several types of still lifes:

Subject-thematic;

Training;

Educational and creative;

Creative.

Still lifes are distinguished:

By color (warm, cold);

By color (close, contrasting);

By illumination (direct lighting, side lighting, against the light);

By location (still life in the interior, in the landscape);

By the time of performance (short-term - "blotch" and long-term - many hours of performances);

By setting an educational task (realistic, decorative, etc.).

Still life in the interior assumes the arrangement of objects surrounded by a large space, where the objects of the still life are in subordination with the interior to the plot.

Subject-thematic still life implies the unification of objects by theme, plot.

Educational still life. In it, as in the plot and thematic, it is necessary to coordinate objects in size, tone, color and texture, to reveal the design features of objects, to study proportions and to identify the patterns of plasticity of various forms. Educational still life is also called academic or, as mentioned above, staged. An educational still life differs from a creative one by a strict goal setting: to give students the basics of visual literacy, to promote the activation of their cognitive abilities and to involve them in independent creative work.

In a decorative still life, the main task is to identify the decorative qualities of nature, to create a general impression of elegance "A decorative still life is not an accurate depiction of nature, but a reflection on this nature: it is the selection and imprinting of the most characteristic, the rejection of everything random, the subordination of the structure of a still life to a specific task of the artist" ...

Decorative still life makes it possible to develop a sense of color harmony, rhythm, quantitative and qualitative proportionality of color planes, depending on their intensity, lightness and texture.

1.2. Artistic materials and techniques used in the depiction of a still life

As a rule, complex tools are not required for drawing. Each had to draw with pencils, felt-tip pens or fountain pens on paper, but it is not easy to achieve mastery in the exact transfer of movement, the nature of the texture. In general, if we talk about paper, then let the children try its various varieties for drawing.

As you know, paper is mainly made from a mass of specially processed wood fibers with the addition of mineral (kaolin, chalk) and sizing agents, dyes, etc. According to legend, paper was invented in China in the 1st century AD. BC. It was made from wood bast, and in the 2nd century. AD - from silk fibers, its Latin name is associated with this. The secrets of paper production became known in Europe only after several centuries. It was made mainly of linen rags; they began to be used for drawing from the 14th century. ...

There are different types of paper. To work with a pencil or paints, you need thick white paper - whatman or semi-whatman - the highest grade of paper with a rough surface, it is strong and well glued. It is named after the owner of the English paper mill J. Whatman.

Paper coated with an even layer of chalk with a small amount of binders is coated or chalk paper. She perceives the paint well, the stroke and line acquire distinctness, the ink lays down very evenly and tightly. But the most important thing is that the finished drawing can be retouched, that is, making changes and corrections with a needle, scalpel, knife, etc. Here even such a new technique as a white line and a stroke on a black background appears, which resembles engraving (the principle of linocut). However, it should not be overused.

Draw well on colored paper. This tradition of the old masters has a lot of meaning and rich technical capabilities, colored paper gives the drawing a tonal environment, it is possible to work on it both dark and light at the same time. Such paper can be prepared as follows: finely crushed pastel or some other coloring powder evenly rub it all over the sheet with a cotton swab. Colored or tinted paper is also made by pouring a weak solution of tea or coffee, plain watercolors or gouache. The color and tone of painting the paper can be infinitely varied. The artistic possibilities of paper are very wide.

Educational practice has shown that graphite and colored pencils, felt-tip pens, watercolors, ink, sauce, crayons, as well as charcoal, sanguine, and pastel are most preferable for completing drawing assignments.

At the initial stage of learning to draw a still life, a graphical pencil is acceptable. It fits well, holds and is removed with an elastic band, which is important when correcting mistakes. There are pencils of various degrees of hardness and softness (hard, soft, medium).

A graphite pencil is equally convenient for both educational and creative work. It has a nice gray tone and some sheen, can be easily erased with an elastic band, and can be corrected. With this pencil, drawings of a linear, linear-dash and tonal-pictorial spot are created. For drawing, a graphite pencil is the simplest and most affordable tool of all materials. Graphite in combination with other artistic materials has tremendous opportunities for every artist.

Graphite fits well on any paper and does not crumble. Select pencil and paper in accordance with the tasks. First, you need to learn how to work with one pencil and try to use all its expressive possibilities. Line and stroke work well on thick, smooth paper, while grainy paper works well in tone. Drawings with a pencil on paper that have turned yellow with time look good.

When working with a graphite pencil, you should not especially get carried away with shading, as you may get the impression of a worn and greasy picture. A graphite pencil is good for drawings in an album, on a Whatman sheet, but if you need to close large surfaces, then coal is usually used.

The expressiveness of the stroke, its possibilities depend on the method of working with a pencil.

An eraser is of no small importance when working with a pencil. The good quality of the elastic is determined by its softness.

Colored pencils can also achieve a variety of graphic or painting effects, especially watercolor pencils that can be washed out with water.

Coal as a drawing material has been used by artists since ancient times, since it has great expressive capabilities, it is used to paint landscapes, portraits, still lifes and subject compositions. Coal can be worked in two ways; using lines and strokes and applying tonal shading. For thin lines, the charcoal is sharpened obliquely, since the middle part (core) of the charcoal made from twigs is looser. When working on canvas, the charcoal sharpens itself. Drawing embers should be different in size and shape. Draw wide lines, quickly shade large surfaces with the side. Charcoal produces deep, velvety blacks and a wide range of tonal transitions. They perform quick sketches, sketches and lengthy drawings. It is very easy to use and easy to wash. Charcoal clearly reveals the shape of the object, allows you to convey light and shadow. They draw on paper, cardboard, canvas, wall and other surfaces. It is better to use rough paper, you can also use thick drawing paper, which should be lightly wiped with fine sandpaper. Interesting charcoal drawings are obtained on a colored background of soft tones.

It is allowed to combine coal with other materials - sanguine, chalk, pastels, colored pencils, watercolors, special retouching charcoal pencil.

It is recommended to grind the charcoal with a cloth or a special blending blend made of suede, kid leather or thick paper in the form of a tightly rolled roller with pointed ends. In this case, do not use an elastic band, as after it the charcoal falls unevenly. You can lighten the tone by brushing off excess charcoal with a cloth or bristle brush. The illuminated places of the form can be worked out with chalk.

Charcoal drawings should be fixed with a special fixative or hairspray. It is sprayed gradually, in several steps, from a distance of about one meter, avoiding the formation of drops. Keep in mind that even the most careful fixation makes the pattern darker.

When drawing with a felt-tip pen, you must take into account its capabilities. The felt-tip pen easily glides over the paper and leaves a beautiful smooth line that cannot be erased, so they need to work with a firm and confident hand. Felt-tip pens are thin and thick, of various colors, which characterizes their artistic capabilities. The drawing is performed using lines, strokes or decorative spots. Felt-tip pens are good for sketching from life, sketching landscapes, decorative and design work.

Sanguin, a red-brown material, was used in the drawing by Leonardo da Vinci. Another name for this material is red chalk. Sanguine is produced in the form of round or square sticks of different shades. Sanguine drawings are linear, dashed and tone. It blends well on rough paper, cardboard, primed canvas. Often artists combine sanguine with charcoal, chalk, pencil. Working as a sanguine is recommended for those who already have drawing skills. To master the technique of working with this material, you should start with sketches, and continue in longer drawings from nature or from imagination.

The works of outstanding masters - Leonardo da Vinci, Raphael, Rubens, Michelangelo, Rembrandt, Titian, Chardin and many others, created by the sanguine, are diverse in technical techniques.

Sauce is a material for drawing in the form of thick sticks made of pressed dyes with glue, wrapped in foil. It is used in large and lengthy drawings, sketches and sketches. The sauce gives a rich opportunity in tonal pattern, has a deep velvety black color (sometimes gray or brown), shades well; applied to paper with a stroke, shading (dry sauce) or washed with a brush with water. Similar to watercolors (wet sauce). Drawings made using the dry sauce technique are best fixed or stored, covered with thin paper, and also under glass.

Sauce as a graphic material became known in the late 18th and early 19th centuries. It is especially widespread in Russia. I. Kramskoy, I. Repin, A. Savrasov and others liked to work in this technique. The sauce goes well with charcoal, ink, and other materials. This opens up new expressive possibilities of drawing.

The "wet" method is as follows: the grated sauce powder is diluted with water to the required consistency. First, the brush is used to cover its own and falling shadows with a solution of medium saturation. Large parts of the mold and the environment are then coated with a weak solution. Then proceed to a detailed study of the subject. Thus, the method of working with "wet" sauce is in its own way close to the technique of working with watercolors (grisaille). You can work with a sauce in a combined way.

The use of charcoal materials, sauce and sanguine when drawing allows children to creatively approach the solution of the figurative characteristics of a full-scale production.

Pen drawing is a great school of hand and eye education. Feathers come in a variety of sizes and materials. The pen is the artist's tool. It is used to write beautiful type in calligraphy and for graphic drawings,

In the old days, they painted with bird feathers (goose, swan, crow, peacock, etc.). For example, A.S. Pushkin made sketches in the margins of his manuscripts with a goose pen. Drawing with bird feathers has not yet lost its significance. The flexibility and elasticity of such feathers allow you to make lines of very different thicknesses, but this tool breaks down very quickly, and preparing a new feather is quite laborious and requires a certain skill. The end of the feather is cut obliquely with a sharp knife and then cut lengthwise by a few millimeters (the name "penknife" is associated with this process).

A wooden stick has been widely used for drawing with ink in the past and now. Its preparation is very simple, an ordinary thin stick at the end is sharpened like a feather, as the artist himself needs.

Still life can be performed along with graphic materials, as well as painting.

The realistic image is not a mirror image of nature. Its purpose is to create an artistic image that faithfully conveys the meaning and content of the phenomenon of nature and life. Painting, like drawing, is based on strictly defined patterns of constructing a realistic form. Painting education is a way of studying the methods, techniques and means of constructing a pictorial form of color. Factors affecting color change include light-air environment, color environment, light sources.

Younger schoolchildren need to develop the ability to see objects in the environment, to look at the still life as a harmonious group of objects with reflexive and spatial connections. The only method that can successfully create a visual image of nature is the relationship method. The development of visual perception goes hand in hand with the accumulation of knowledge and skills.

The colors are classified into achromatic colors (white and black). They differ in lightness. All colored paints are called chromatic. Colors can be either warm or cold. Also, when working with a still life, we are faced with a phenomenon - contrast. Any achromatic color in the environment of the darker brightens, in the environment of the lighter it darkens. It's a light contrast. The change in color tone depending on the adjacent color is called color contrast.

Hue is a measure of chromaticity that distinguishes one color from another. Lightness is the difference in lightness, saturation is the severity of a particular color tone. Halftone is an intermediate part of the form between light and shadow.

The work on the still life is carried out with various painting materials. One of these materials is watercolor.

Watercolor painting: watercolor - water colors, from the French aguarell, from the Latin agua - water. Sometimes it is hard - in tiles, semi-soft in cups, soft - in tubes. The main property of watercolors is the transparency of the coloring layer. This property should be taken into account when imposing one color on another.

There are two ways of working in watercolor:

Glaze - the imposition of one transparent layer of paint on another, while the first layer is dried.

Alla prima - all colors are taken at once with the necessary strength, each color detail begins and ends in one step. Also called raw work.

Highlighting the saturated tone occurs by diluting the watercolor with water. Watercolor painting is based on the technique that first, light colors of paints are applied to the paper, leaving the glare uncovered, then saturated colors are gradually introduced.

The next painting material is gouache - the French word for gouache - opaque watercolors. Gouache production technology is close to soft varieties of watercolors, but differs from it in opacity. Possesses good hiding property. This allows you to apply one color to another. Color lightening is achieved by adding white. Derivative colors are obtained by preliminary mixing of paints on a palette. After drying, gouache paints brighten. Acquaintance with the technique of gouache should begin with a still life, in which color relations are clearly outlined.

Thus, still life as a form of fine art has its own characteristics. In teaching younger students the art of still life, for a more accessible, systematic understanding of this issue by them, it is necessary to apply special teaching methods and techniques that were developed by many teachers earlier and are being developed and updated at the present time.

CHAPTER 2. STILL LIFE AS A MEANS OF DEVELOPING ARTISTIC AND FINE SKILLS IN PUPILS

2.1. The role of art in the development of a primary school student

The analysis of the artistic activity of schoolchildren shows that art is an irreplaceable tool for the formation of personality; it is thanks to him that younger schoolchildren can get acquainted with socially significant ideas and concepts, assert themselves in their value orientations. An introduction to art gives a younger student the opportunity to feel and reproduce special, primary forms of creativity, to touch the richest half-forgotten layers of universal human culture; is a good starting point for mastering the subsequent stages of the development of art.

The formation of the value orientations of schoolchildren in art is facilitated by their understanding of how correctly the artist used the expressive means of one or another of its types; the relationship of art with personality, her spiritual needs, emotional preferences and practical experience.

As you know, an important component of the formation of an aesthetic attitude to reality is the form of its manifestation - an incentive to sensual experiences, understanding a work of art.

The most characteristic form of motivation is artistic interest, value orientation in the field of artistic culture and aesthetic need, forms of comprehension of art - artistic perception, aesthetic assessment and creative interpretation.

It is known that artistic creativity plays an important role in the formation of the personality of a younger student. Developing a universal human ability to see and comprehend the beautiful, it is one of the ways to activate his imaginative thinking, imagination and intuition.

Fine arts lessons in a general education school are designed to develop children's abilities for self-expression, reveal their creative potential, and sharpen the sense of beauty. To increase the interest of younger students in artistic creation it is necessary, in our opinion, to develop in them, along with these abilities, an emotional and creative attitude to this or that type of activity, to promote the joyful expectation of interesting work and the opportunity to demonstrate their point of view, to show their “I”.

The analysis of scientific literature has shown that the mastery of artistic skills is of great practical importance for the future work of a student, since it makes it possible to use a graphic record and a visual method of explanation when conveying his thoughts, develops the clarity and completeness of visual representations necessary in design and design, teaches more subtly distinguish colors and shapes.

It is known that the educational influence of art on a person is a two-way process, which is an active interaction of a work of art and a person. A feature of such a pedagogical influence on the younger generation is the formation of his aesthetic attitude to art. The family plays an important role in the formation of the student's artistic and creative development as a "microenvironment" in which he receives his first artistic impressions.

It is noted that the greatest interest in art is developed in those children whose parents are passionate about or engaged in creative activities. It should be admitted that the authority of the family and the parents decreases with the age of the child.

That is why the school plays an important role in the development of the artistic interests of schoolchildren, which gives them a certain level of knowledge, develops culture, satisfies spiritual needs, and is the main source of knowledge about art. Unlike the family, the school deals with the formation of children's artistic interests purposefully and systematically.

The main form of the school's artistic and pedagogical work is the art cycle classes. However, with age, as observations show, schoolchildren become less dependent on information received in the classroom: their taste preferences are formed not only under the influence of family and school, but also through the media system.

That is why the aesthetic education of junior schoolchildren must be built taking into account the peculiarities of the psychology of their age, to introduce them to art, forming their creative potential.

In addition, artistic creativity, as you know, develops the flexibility and productivity of thinking in schoolchildren, makes it possible to see their natural inclinations to a particular type of activity, creates conditions for their implementation. Being a practically spiritual activity, it presupposes the obligatory presence of specific performing skills. As you know, any artistic and creative process provides for the mastery of the subject environment by certain means. That is why the need to form the interest of adolescents in artistic creation is dictated by the fact that their fruitful introduction to art is possible only on the basis of their true awareness in the field of artistic culture. Involvement of the younger children school age to visual and creative activity is an indispensable side of the educational process.

It is known that the practice of introducing art is based on the traditional folk art, in which all kinds of fine arts are synthesized. With this approach, education becomes universal, becomes accessible and effective.

a means of developing a younger student, reveals his creative abilities, forms artistic skills and abilities. A feature of artistic and visual activity is, in our opinion, its creative nature, the spontaneity of the fragments of the lesson, the improvisation of the teacher and students. All this contributes to the development of the creative abilities of children in every situation in which imagination, writing, observation are actualized. Inventing, imagining, fantasizing, they make discoveries, revealing for themselves the boundless world of art.

2.2. Organization of pedagogical work to familiarize children with still life

Having chosen a still life from the genres of painting, we will consider how you can teach children to understand the language of art. The world of art is arranged in such a way that a child cannot enter it without the help of an adult who will reveal to a growing person the meaning and laws of art, teach the language of various arts. The methodological search for a teacher will be successful provided that he himself performs practical work, as a result of which he masters the means of image and joins the world of art. Therefore, it seems to us significant to reveal the creative activity of an educator-teacher in the fine arts, where, along with an emotional-figurative perception of the art world, a methodical search for the means of its depiction would be revealed.

Still life is the first genre of painting, which, as studies of teachers and psychologists show, should be introduced to younger students. It not only evokes the greatest emotional response in children from 3-4 years old, associations with their own life experience, but also attracts the attention of children to the means of expressiveness of painting, helps them to look more closely at the beauty of the depicted objects and admire them. Experiment N.M. Zubareva showed that genre painting and still life attracted the greatest attention of children. The motivation for the children's choice of these genres of painting is understandable: they are consonant with their experience, since children meet with many objects depicted, for example, in still life, in everyday life. N.M. Zubareva established the levels of aesthetic perception by children of a picturesque still life. At the first level, the lowest, the child enjoys depicting familiar objects that he has recognized in the painting. Children of three years old are at this level, but if pedagogical work is not carried out with them, then at the same level they remain at 6, 7 and more years. At the second level, the child begins to realize the elementary aesthetic qualities of the work - they can appreciate in the picture both the color and the color combinations of the depicted objects and phenomena, less often - the form and composition. At the third level, the child is able to grasp the inner characteristics of the artistic image. This is still a partial, not complete comprehension of the artistic image, but it allows the child to aesthetically experience at least part of the artist's intention.

Art awakens an emotional and creative beginning in children of primary school age. With the help of painting, younger students are taught to understand the harmony of nature. When we look at a number of still lifes by different artists, we see how diverse they are in content, means of expression and in the individual creative manner of each artist. Art critics do not subdivide still lifes by type, but for pedagogical work with children, we think it is important. One-type still life depicts objects of one specific type: only vegetables, only fruits, only berries, mushrooms, flowers; possible food or household items, for example: P. Konchalovsky "Peaches"; I. Repin "Apples and Leaves"; I. Levitan "Lilac"; V. Stozharov “Bread. Kvass"; P. Konchalovsky "Dry paints" and others. If the picture shows various objects (vegetables and fruits, flowers and fruits, dishes and vegetables and others), we conventionally define such a still life as mixed in content, for example: I. Khrutsky "Flowers and Fruits"; I. Mikhailov "Vegetables and Fruits"; K. Petrov-Vodkin "Glass and lemon". Still lifes depicting living creatures: birds, animals, humans - or still lifes with a landscape included in them, for example: F. Tolstoy “A bouquet of flowers, a butterfly and a bird”; I. Serebryakova "At Breakfast"; P. Krylov "Flowers on the Window" and others.

In elementary grades, children should be shown a variety of still lifes. In addition to single-order and mixed still lifes, we offer children still lifes of a plot nature, as well as those written in a generalized realistic, detailed and decorative manner, in a warm, cold and contrasting scale, lyrical, solemn and others. Still lifes are selected in a variety of compositions.

The selection of works by form takes into account the principle of variety of means of expression and manner of performance used by the artist. For viewing with children, pictures are selected in which artistic images are located in a circle, a triangle, asymmetrically, symmetrically, in the center, statically, dynamically ... The principle of concentricity is also taken into account, the essence of which is to return to previously perceived pictures, but at a higher level of cognition ... The same picture is repeatedly offered for viewing by children during the school year. But the attention of the children is directed to different goals: to highlight individual images, name the color, determine the mood, analyze the logical connections of the picture, establish the relationship between the content and the means of expression.

Paintings, still lifes, should realistically reflect the phenomena of social life and nature familiar to children. The picture should clearly express the idea, the intention of the artist. When selecting still lifes for viewing, it is necessary to clearly understand what the picture is about, what the artist's main idea was, why he created this work, how he conveyed the content (what artistic means he used). The theme of a still life should be close to the child's social experience, his life impressions. When selecting still lifes for acquaintance with younger students, they take into account the individual creative vision of reality in similar themes of still lifes. Younger schoolchildren are introduced to still lifes created by different artists on the same theme. Perceiving these still lifes, children acquire the ability to compare different ways of performing the same phenomenon by different artists, to highlight their relationship to the depicted.

Pedagogical work to familiarize children with art requires the creation of material conditions and a special creative, joyful atmosphere, emotional contact between adults and children. Explanations, comparisons, the method of accentuating details, the method of evoking adequate emotions, the tactile-sensual method, the method of reviving children's emotions with the help of literary and song images, the method of "entering the picture" are widely used in acquainting younger schoolchildren with painting, in particular with still life. , method of musical accompaniment, game techniques. The unity of the techniques and methods used in working with children in the classroom ensures the formation of a stable interest in art, depth, vividness of impressions, emotionality of their relationship to the content of painting in younger students. “A child by nature is an inquisitive explorer, a discoverer of the world. So let a wonderful world open up in front of him in living colors, bright and vibrant sounds - in a fairy tale, a game, in his own creativity, in beauty "- said V.N. Sukhomlinsky.

2.3. Stages of work on a still life

First, you need to consider the still life from different points of view and choose the most successful one, paying attention to the lighting effects, that is, from what point of view the shapes of objects look more interesting. Usually they look more interesting and expressive in side lighting. Sitting against the light is not recommended.

You should think about which paper size to choose and how best to arrange the still life on the sheet - vertically or horizontally. For example, if you need to include a corner of the table in the composition, then it is better to put a sheet of paper vertically.

Alberti wrote: "Never touch a pencil or brush until you have properly thought about what you have to do and how it should be done, for it is truly easier to correct mistakes in your mind than to scrape them off the picture."

You should always start drawing with the compositional placement of the image. It is very important to arrange the entire group of objects so that the sheet of paper is evenly filled. To do this, mentally we combine the entire group of objects into one whole and think over its placement in accordance with the format of a sheet of paper.

The teacher must explain to the students that more space should be left above than below - then the viewer will get the impression that the objects are firmly on the plane. At the same time, care must be taken that the depicted objects do not rest against the edges of the sheet of paper and, conversely, so that there is not much empty space left.

The compositional problem is not always easy to solve. Sometimes a student has to spend a lot of time and effort to succeed. And if the setting is very difficult, then you cannot do without the help of a teacher. This is explained by the fact that in addition to placing the image on a sheet of paper, the student also needs to find a compositional center on the picture plane.

In most cases, the visual center does not coincide with the compositional one, which depends on the location of the main object, around which the rest are grouped. After all, the spatial position of objects relative to each other in the image also depends on the choice of point of view, which will certainly affect the layout of the still life in the intended format.

In order for the educational work to be successful, the teacher needs to take all this into account in advance and provide assistance to the students in time. On the blackboard, the teacher must demonstrate the sequence of linear construction of a still life drawing, paying special attention to determining the compositional arrangement of the entire group of still life objects on a sheet of paper. The teacher should also show the correct and incorrect layout of the drawing on the sheet.

Then the teacher erases the drawings from the chalkboard and the students get to work.

At first, lightly touching the paper with a pencil, we outline the general nature of the shape of objects, their proportions, as well as their location in space. Students limit the general spatial arrangement of the entire group of still life objects with short line segments.

Those students who do not succeed in determining the general composition of a group of still life objects in the drawing can be allowed to draw each object separately, starting, however, with an approximate estimate of the size of each of them. Next, you need to clarify the size of each item separately.

We construct the shape of objects in the same way as in tasks for drawing individual objects. We outline the surfaces of each object, both visible and invisible. Thus, the drawing is like an image of wire models.

So in the middle of the outlined outline of the object (for example, a teapot), an axial vertical line is drawn, on which the height is specified, and horizontal segments are drawn through the points that determine its height. They determine the width of the neck and bottom of the kettle. We consider the proportions of the main part of the teapot - the vessel and draw the bottom and neck. We outline the spout, lid, and handle of the kettle with thin lines. We check again and immediately clarify the proportions of both the entire shape of the teapot and the main parts.

In the same way, you need to work on the image of the apple. You should not immediately draw and refine the contour of objects; the main thing is to determine the dimensions and proportions of each of the objects (in height, width, depth).

When identifying the constructive basis for the shape of objects, it is necessary to carefully check the perspective. Particular attention should be paid to the perspective image of the bases of objects. It should not be allowed that in the drawing the footprint of one object “stepped on” the footprint of another, in other words, the student must clearly understand which object is in the foreground and which is in the second. Novice draftsmen usually do not follow this, and they do not get space between objects in their drawing. Then they begin to inject tone into the drawing, hoping that the defect can be corrected in this way, but this does not give the desired results.

The method of linear constructive imaging helps to solve this problem. It is important for the student to clearly imagine the location of objects (tracks) on the plane of the table, the distance between them. Then he must imagine this plane with footprints depicted in perspective.

PP Chistyakov wrote: “First and foremost, you need to pay attention to the plan, the points that the figure touches. For example, footprints on the floor. " Here, in the lines, it is necessary to outline the boundaries of light and shadow, so that later they will not be looked for on each object separately.

Separately, it must be said about the image of the drapery, which descends from above and covers the object plane. When drawing the drapery, we first define the horizontal and vertical planes, and only then proceed to drawing the folds. The fabric, light in tone and thin in structure and material, forms folds expressive in terms of plasticity and cut-off modeling on the vertical plane. On the object plane, the folds of the drapery are slightly outlined. When constructing volumetric folds, you can use the method of generalizing the shape (chopping). The student must maximally generalize the complex shape of folds to rectilinear geometric shapes. This method will help you understand the shape of the folds and correctly solve the tone problems of the drapery pattern.

Then we draw in more detail all the objects of the still life, removing the construction lines.

In the process of learning to draw from nature, students must learn to see and understand the relationship between the structure of an object and the phenomena of chiaroscuro, master the means of chiaroscuro drawing. Not knowing the laws of light distribution on the shape of an object, they will passively copy light and dark spots from nature, but they will not achieve convincingness and credibility of the image.

In the process of studying, the teacher should dwell in more detail on the black-and-white and tone theory in drawing.

Starting to identify the volume of objects, first of all, it is necessary to determine the lightest and darkest place in the still life. Having established these two poles, you should pay attention to the penumbra. To do this, we carefully trace the direction of the light rays and determine on which plane of the object the rays of light fall directly, that is, where the light will be, and on which they will not fall at all, that is, where the shadow will be. Then we outline the shadows falling from each object.

At first, lightly touching the paper with a pencil, we lay shaded places on each object: on a teapot, an apple, a drapery. This will help you to more clearly see the mass of each object, and therefore, once again check the proportions and general condition of the drawing.

Then we lay in penumbra, increasing the tone in shady places, and finally, the shadows falling from objects. It is this order of revealing the volume of objects in tone by all artists that is considered mandatory.

Leonardo da Vinci wrote: “First put a general shadow on the entire filled part that does not see the light, then put the penumbra and main shadows, comparing them with each other. And in the same way, apply the fill light, kept in half light, and then put the middle and main lights, comparing them as well.

When the general drawing of the still life is outlined correctly, you can increase the pressure of the pencil on the paper and lay the tone, proceeding to detailed drawing each item.

At the end of the lesson, the teacher must organize the repetition and consolidation of theoretical material in the visual arts.

When drawing a form in detail, it is necessary to carefully observe all shades and transitions of light and shade, for all details of the form. But when working on a part, one must not forget to compare it with the one next to it. PP Chistyakov recommended: “You should not work on a detail for a long time, since the sharpness of perception disappears, it is better to go to another, nearby part. When you return to the work done at the beginning, it is easy to see the imperfections. So, in the process of all work, moving from one place to another, keep the whole figure in your eye, do not immediately strive for the general, but delve into the details, do not be afraid of the initial variegation, it is not so difficult to generalize, it would be something to generalize. "

When working out the forms of still life objects, serious analytical work must take place. It is necessary to carefully draw every detail of the object, to reveal its structure, to convey the characteristic features of the material, to trace how the constituent elements are linked with each other and with the general shape, for example, the handle, the spout of the teapot, the texture and shape of the apple, how the glare on various objects differs from each other.

We carefully draw the shadows falling from the details - the shadow from the teapot, apple. This elaboration of the form will help make the drawing convincing and expressive.

Finishing the drawing, the students, under the guidance of the teacher, carefully analyze the tonal relationships of still life objects, determining the general tone of the teapot, apple, drapery, various shades of tone in the light, in the shade, in partial shade: in the foreground and background. Care must be taken to ensure that individual objects are not too strong in tone (black) and do not fall out (do not break out) from the drawing. To do this, you need to look at the drawing from a distance with narrowed eyes and compare the power of reflexes with nature. It should be remembered that reflexes should not be very bright or argue with light, with penumbra. And when the painter looks at them with narrowed eyes, they should disappear, merge with the shadows.

2.4. Rules for drawing up a still life

Drawing up a still life must begin with an idea, in our particular case, with the formulation of an educational task (constructive, graphic, pictorial, etc.). Through comparative analysis, they come to the determination of the most characteristic features of the form and generalization of observations and impressions. It must be remembered that each new object in the production is "a new measure of all things included in it, and its appearance is like a revolution: objects change and change their relations, as if they are entering another dimension."

The moment of drawing up a still life by the students themselves is important, since such exercises will make it possible to carry out plastic tasks and the most advantageous groupings of objects.

Thus, we can conclude that the essence of the composition is to find such a combination, the organization of pictorial elements that would facilitate the identification of content.

Lighting plays an important role in the composition of the staging of a still life - artificial or natural. The light can be side, directional or diffused (from a window or with general illumination). When illuminating a still life with directional light from the front or from the side, objects have a contrasting chiaroscuro, while to highlight the first (or main) plan, you can block out part of the light that falls into the background. When illuminating a still life from a window (if the objects are placed on a windowsill), there will be a silhouette solution of dark on light, and part of the color will disappear if the still life is solved in color. The tonal difference in objects is more noticeable in diffused light.

In educational still lifes, objects of different tones are selected, not combining only light or dark objects in one setting, and at the same time taking into account the shapes of the falling shadows.

Consists of three items (one large - the center of the composition and two or three smaller ones) and draperies;

Objects are different in color, but not intense colors;

Small objects can be active in color (they are used to compare color characteristics);

Objects and draperies should have a pronounced tonal difference;

Placement of the production in direct daylight (large color ratios are easy to read, have decorative appeal).

Compliance with these rules will allow students in the process of practical work on an educational still life to most clearly identify the main pictorial relations, will focus on the correct vision of tonal differences, contributing to the correct color transfer of the materiality of things.

CONCLUSION

According to the methodology of teaching fine arts, the first stage of education in a general education school should, through art, lay the foundations of artistic, aesthetic perception of the phenomena of the surrounding reality. For four years of primary education, it is necessary in the consciousness and emotional development of the child to create the foundation of artistic representations, on which he can rely in all further education. From the very beginning of teaching, the teacher must create a "situation of assimilation" around the topic of the lesson. atmosphere of joy, participation of children in the process of perceiving the material, and the need for active creative feedback when performing the practical work of each task.

The development of artistic perception and practical activity are presented in the program in their content unity. A variety of practical activities leads students to understand the phenomena of artistic culture, the study of works of art and the artistic life of society is supported by the practical work of students.

The introduction to art begins in elementary school, it gradually expands - from the immediate environment to the art of native and other peoples, foreign art.

The visual activity of the child, which he is just beginning to master, needs qualification guidance from an adult.

A characteristic feature of art is the reflection of reality in artistic images, which affect the consciousness and feelings of the child, educate in him a certain attitude towards the events and phenomena of life, help to understand reality deeper and more fully. The influence of art on the formation of a person's personality, its development is very great. The child's soul is predisposed to the perception of beauty, the child is able to subtly feel painting.

Paintings, rich in their ideological content and perfect in their artistic form, form artistic taste, the ability to understand, discern, appreciate beauty not only in art, but also in reality, in nature, in everyday life. Painting recreates all the richness and diversity of the world. By means of painting the real world with spatial depth, volume, color, light, air is recreated.

A still life for teaching younger schoolchildren to draw is a very comfortable nature in all respects: it is motionless, on long time retains its appearance, still life objects can be given any position and an interesting combination of shapes, movements, textures, sizes and colors can be obtained. Still life teaches to solve basic educational problems, and along with them, creative tasks. It is more convenient to start mastering the techniques of still life image by drawing well-known volumetric objects with a pencil and paint of the same color.

LIST OF REFERENCES

1. Alekhin A.D. Art. Painter. Educator. School: a book for the teacher. - Moscow: Education, 1984.

2. Alekhin A.D. When the artist begins. - Moscow: Education, 1993.

3. Wegner L.A. Ability pedagogy. - Moscow: Knowledge, 1973.

4. Vlasov V.G. Styles in Art: Dictionary. - St. Petersburg: Kolna, 1995.

5. Age-related opportunities for the assimilation of knowledge: Junior classes of school / Edited by DB Elkonin, VV Davydov. - Moscow: Education, 1968.

6. Vygotsky L.S. Imagination and creativity in childhood. - 3rd ed. - Moscow: Education, 1991.

7. Gerchuk Yu.Ya. Fundamentals of artistic literacy. - Moscow: Educational literature, 1998.

8. Davydov V.V. Problems of Developmental Learning: The Experience of Theoretical and Experimental Psychological Research. - Moscow: Pedagogy, 1989.

9. Kovalev A.G. Psychology of Personality. - 3rd edition - Moscow: Education, 1970.

10. Komarova T.S. Teaching children drawing techniques. - Moscow: Century, 1994.

11. Komarova T.S. How to teach a child to draw. - Moscow: Century, 1998.

12. Kosminskaya VB, Khalezova N.B. Fundamentals of fine arts and methods of guiding children's fine arts. - Moscow: Education, 1981.

13. Kosterin N.P. Instructional drawing. - Moscow: Education, 1984.

14. Kuzin V.S. The basics of teaching fine arts at school. - Moscow: Education, 1977.

15. Kuzin V.S. Sketches and sketches. - 2nd edition. - Moscow: Education, 1981.

16. Kuzin V.S. Psychology. - 2nd edition. - Moscow: Higher School, 1982.

17. Kuzin V.S. Fine arts and methods of teaching it in primary school. - Moscow: Education, 1984.

18. Kuzin V.S. Methods of teaching fine arts in grades 1 - 3. - Moscow: Education, 1979.

19. Lyublinskaya A.A. The teacher about the psychology of a younger student.- Moscow: Education, 1977.

20. Maksimov Yu.V. At the origin of mastery. - Moscow: Education, 1983.

21. Methods of teaching art and design: Textbook / Edited by TS Komarova. - 2nd edition, revised. - Moscow: Education, 1985.

22. Mukhina V.S. The visual activity of the child as a form of assimilation of social experience. - Moscow: Pedagogy, 1981.

23. Nemensky B.M. Fine arts and artistic work 1 - 4 grades. - Moscow: Education, 1991.

24. Teaching in the first grade: A guide for teachers in grades 1-4 of primary school. - Moscow: Education, 1986.

25. Teaching in the second grade: A guide for teachers in grades 1-4 of primary school. - Moscow: Education, 1987.

26. Teaching in the third grade: A guide for teachers of grades 1-4 of primary school. - Moscow: Education, 1988.

27. Programs of educational institutions. Art. Grades 1 - 9 / Scientific adviser V.S. Kuzin. - Moscow: education, 1994.

28. Programs of educational institutions. Fine arts and artistic work. Grades 1 - 9 / Supervisor B.M. Nemensky. - Moscow: Education, 1994.

The selection of works by form takes into account the principle of variety of means of expression and manner of performance used by the artist. For viewing with children, pictures are selected in which artistic images are located in a circle, a triangle, asymmetrically, symmetrically, in the center, statically, dynamically. The principle of concentricity is also taken into account, the essence of which is to return to previously perceived pictures, but at a higher level of cognition. The same picture is repeatedly offered for viewing by children during the school year. But the attention of the children is directed to different goals: to highlight individual images, name the color, determine the mood, analyze the logical connections of the picture, establish the relationship between the content and the means of expression.

Stages of work on a still life