1. Primitive art. The emergence and features of the development of fine arts in primitive society. Methods of teaching drawing in Ancient Egypt

The conversion of primitive people to a new type of activity for them - art - is one of the greatest events in the history of mankind. Primitive art reflected man’s first ideas about the world around him, thanks to it knowledge and skills were preserved and passed on, people communicated with each other. The Stone Age (over 2 million years ago until the 6th millennium BC), is divided into Paleolithic, Mesolithic and Neolithic. The first works of primitive art were created about 30 thousand years ago. The most ancient sculptural images are paleolithic venus - primitive female figurines. In addition to women, they depicted animals made of stone or bone. Stone Age people gave an artistic appearance to everyday objects - stone tools and clay vessels. Later, primitive craftsmen began to pay more attention to details: they depicted wool with strokes and learned to use additional colors) In the 12th millennium BC. e. cave art reached its peak. The painting of that time conveyed volume, perspective, color and proportions of figures, and movement. At the same time, huge picturesque paintings were created canvases , covering the vaults of deep caves. The exact time of creation of the cave paintings has not yet been established. Dozens of large animals are depicted on the walls of the caves: mammoths and cave bears. Mineral dyes mixed with water, animal fat and plant sap made the color of the cave paintings especially vibrant. (Altamira Cave, Lascaux Cave)

Mesolithic art. In the Mesolithic era, or Middle Stone Age (XII-VIII millennium BC), (coastal mountainous regions of Eastern Spain, between the cities of Barcelona and Valencia) figures of people depicted in rapid movement, multi-figure compositions and scenes of hunting with egg whites, blood , honey.

Neolithic art (5000-3000 BC) Cave painting in the Neolithic era became increasingly schematic and conventional: the images only slightly resembled a person or animal. These are, for example, rock paintings of deer, bears, whales and seals found in Norway, reaching eight meters in length. In addition to schematism, they are distinguished by careless execution. Along with stylized drawings of people and animals, there are various geometric shapes (circles, rectangles, rhombuses and spirals, etc.), images of weapons and vehicles (boats and ships). The first rock paintings were discovered in 1847-1850. in North Africa and the Sahara Desert (Tassilin-Ajjer, Tibesti, Fezzan, etc.)

bronze (it got its name from the then widespread metal alloy - bronze). The Bronze Age began in Western Europe about four thousand years ago. in the Bronze Age they made all kinds of household items, richly decorated with ornaments and of high artistic value. In the III-II millennia BC. e. unique, huge structures made of stone blocks appeared, menhirs - vertically standing stones more than two meters high. (Brittany Peninsula in France) dolmens are several stones dug into the ground, covered with a stone slab, originally used for burials. Numerous menhirs and dolmens were located in places that were considered sacred. Particularly famous are the ruins in England near the city of Salisbury - the so-called. Stonehenge (II millennium BC). Stonehenge is built from one hundred and twenty stone blocks weighing up to seven tons each, and is thirty meters in diameter.

In other Egypt, a special art school arose and strengthened, and training was carried out systematically. The method and system of teaching for all teachers was the same, because the approved canons prescribed the strictest observance of established standards. The first in the history of human culture laid the foundation for the theoretical justification of drawing. Learning to draw was based on memorizing the developed rules and canons. Although the canons made it easier to study drawing techniques, they fettered the artist and did not allow him to depict the world as he sees it. Drawing in Dr. Egypt was a general education subject and was closely related to the teaching of written literacy. The leading school of the ancient kingdom was the Memphis court school of architects and sculptors, it was. Artist Other schools were formed as the center and around it. There was even an institute where young men studied. Teachers used special methodological tables. The principles and methods were based on frontality, all drawings are linear in nature, there is no three-dimensionality, perspective, chiaroscuro, there were proportions of standing, sitting and other figures. Monuments of Egyptian culture provide a lot of valuable and interesting material for studying methods of teaching fine arts: paintings on the walls of tombs, palaces, temples, and on household items; drawings for reliefs, and, finally, drawings on papyri. Egyptian artists paid main attention to the depiction of the human figure. The artist's task Ancient Egypt Real life depiction was not included. Life for them was like a temporary phenomenon; the main existence began after death. The artist combines different points of view on the subject within one image: some parts of the figure are depicted in profile (head, legs), others - in front (eye, shoulders). The features of ancient Egyptian painting were essentially coloring and for a number of centuries were reduced to filling the silhouette with one color, without introducing additional tones and colored shadows.

2. Methods of teaching fine arts in Ancient Greece(Ephesian, Sicyon, Theban schools)

Having studied teaching methods in Dr. Egypt, the Greeks approached the problem of training and education in a new way. They called for careful study of earthly life, and not the afterlife. In 432 BC e. In Sikyon, the sculptor Polykleitos wrote an essay on the proportional laws of the human body and studied its internal mobility. The Doryphorus statue served as a visual aid.

Polygnot called for the reality of the image, mastered the means of linear drawing, sought to convey texture without knowing chiaroscuro, drawing in life-size, polychrome painting. The line played a primary role, clarity and clarity of the image were maintained.

Apollodorus of Athens and his student Zeusis included mixing of colors, gradation, and introduced chiaroscuro into the painting technique. Parrhasius introduced symmetry to painting, was the first to convey facial expressions, and achieved primacy in contours.

By the 4th century BC. e. Greek art reaches a high stage of development in Greece there were several famous works. schools of drawing: Sicyon, Ephesus and Theban.

Fivanskaya highway -the founder of which was Aristides, or Nicomachus, attached great importance to “black and white effects, the transfer of life sensations and illusions.” The Ephesian school, the founder of which is considered to be Ephranor of Corinth, and according to other sources - Zeuxis, was based on “sensual perception of nature and external beauty.” This school strived for illusion, but was not impeccable in drawing.

Sikyonskaya highway -hold. scientific data of natural science and the laws of nature, sought to bring closer and teach the student to respect the laws of the structure of nature. founded by Eupompus, was based on scientific data from natural science and strictly adhered to the laws of nature. This school required “the greatest accuracy and rigor of drawing.” She had a great influence on the methods of teaching drawing and on the further development of art. art.

Artists learned to convey on a plane not only the volume (three-dimensionality) of objects, but also the phenomena of perspective. While learning to draw from life, Greek artists also studied anatomy.

Greek artist-teachers established the correct method of teaching drawing, which was based on drawing from life. (Polykleitos. Doryphoros. Marble. V century BC. Neapolitan Museum.)

The fine arts of the ancient world, in comparison with the Egyptian, were enriched with new principles and methods of image construction, and at the same time with new teaching methods. For the first time in the history of the development of educational drawing, Greek artists introduced chiaroscuro and gave examples of perspective construction of images on a plane, laying the foundations for realistic drawing from life.

Greek artist-teachers established the correct method of teaching drawing, which was based on drawing from life. For the first time among the Greeks, drawing as an academic subject received the right direction. The Sikyon school of drawing and its actual head, Pamphilus, deserve special attention in this regard, thanks to which drawing began to be considered as a general education subject and was introduced in all secondary schools in Greece. Pamphilus's merit lies in the fact that he was the first to understand that the task of learning to draw includes not only copying objects of reality, but also knowledge of the laws of nature. He was the first to understand that drawing develops spatial thinking and figurative representation, which are necessary for people of all professions. After Pamphilus, all the progressive thinkers of Greece began to understand this; They realized that teaching the arts contributes to the all-round development of a person.

The era of ancient Greece was the most brilliant era in the history of the development of fine arts ancient world. The importance of Greek fine art is extremely great. Here the method of scientific understanding of art was laid down. Greek artist-teachers encouraged their students and followers to directly study nature, observe its beauty, and pointed out what it was. In their opinion, beauty lay in the correct proportionality of the parts, the perfect example of which is the human figure. They said that the proportional pattern of the human body in its unity creates a harmony of beauty. The main principle of the Sophists was: “Man is the measure of all things.” This position formed the basis of all the art of Ancient Greece.

. Methods of teaching fine arts in Ancient Rome

Methods of teaching drawing in ancient Rome

The Romans were very fond of art. art, especially the works of Greek artists. Receives wide distribution portrait art, but the Romans did not introduce anything new into the methodology and system of teaching, continuing to use the achievements of Greek artists. Moreover, they lost many valuable positions of the drawing, failing to preserve them. The artists of Rome mainly copied the works of the artists of Greece. The teaching arrangement was different from that in Greek schools:

In Rome, the teacher was more interested in the craft and technical side of the matter, rather in preparing an artist-craftsman (more craftsmen to decorate their houses).

When teaching drawing, copying from samples and mechanical repetition of working techniques prevailed, which in turn forced Roman artist-teachers to deviate more and more from the teaching methods used by the artist-teachers of Greece.

In drawing techniques, the Romans were the first to use sanguine (a beautiful reddish-brown shade) as a drawing material - it was pliable in work and was better fixed on a smooth surface than charcoal.

The role of ancient culture was especially great in the development of realistic art, in the formation and development of the academic system of teaching drawing. Even today, she inspires us to search for more effective methods of teaching fine arts, to scientifically develop methods for teaching drawing.

Roman society required a large number of artists and craftsmen to decorate premises and public buildings; training periods were short. The method of teaching drawing is unscientific. the drawing became conventional and schematic.

The era of Roman rule, at first glance, creates all the conditions for the further development of methods of teaching realistic drawing. The Romans were very fond of fine arts. They especially highly valued the works of Greek artists. Rich people amassed collections of paintings, and emperors built public pinakotheks (galleries). Portrait art is becoming widespread. The images of people of that era are depicted without any embellishment. With amazing life truth, they convey the individual character traits of people of all ages, such as, for example, a picturesque portrait of Paquius Proculus and his wife, a boy; sculptural portraits - Vitellin, young Augustus, Julius Caesar, etc.

Many noble nobles and patricians themselves engaged in drawing and painting (for example, Fabius Pictor, Pedius, Julius Caesar, Nero, etc.).

It seems that everything was created for the further development of fine art and teaching it. However, in fact, the Romans did not introduce anything new into the methodology and system of teaching drawing. They only took advantage of the achievements of Greek artists; Moreover, they failed to preserve many valuable principles of the methodology for teaching drawing. As evidenced by the surviving paintings of Pompeii and the reports of historians, the artists of Rome mainly copied the creations of the remarkable artists of Greece. Some paintings are executed with great skill, for example, “The Wedding of Aldobrandino.” However, they were unable to achieve the high professional skill that the famous artists of Ancient Greece possessed.

A few words about drawing technique. The Romans were the first to use sanguine as a drawing material. The catacombs contain traces of the work of Roman artists, where they used sanguine to outline the frescoes. Perhaps, to a greater extent than the Greeks, they adopted the work technique of Egyptian artists, especially in painting (using tempera, working on canvas, papyrus). The teaching methods and the nature of the training of artists differed from the Greek schools. Greek artist-teachers tried to solve the high problems of art; they called on their students to master art with the help of science, to strive for the heights of art, and condemned those artists who approached art in a craftsmanlike manner. In the era of the Roman Empire, the artist-teacher thought less about the high problems of artistic creativity; he was mainly interested in the craft and technical side of the matter.

Roman society required a large number of artists and craftsmen to decorate residential premises and public buildings, so the training period could not be delayed. Therefore, when teaching drawing, copying from samples and mechanical repetition of working techniques prevailed, which in turn forced Roman artists to deviate more and more from those deeply thought-out teaching methods used by the outstanding artist-teachers of Greece.

4. Drawing in the Middle Ages. Art and religion

In the era of the Middle Ages and Christianity, the achievements of realistic art were consigned to oblivion. The artists did not know the principles of constructing an image on a plane that they used in Dr. Greece. Precious manuscripts were lost - theoretical works of great artists, as well as many famous works that could serve as models. Idolatry was subjected to the greatest persecution, all statues and paintings were broken and destroyed. Along with the statues and paintings, scrolls and notes, drawings and rules perished; the method of teaching drawing was unscientific. The basis of training is considered to be mechanical copying of samples, and not drawing from life.

Painters of the first centuries of Christianity still used the artistic forms of ancient painting. In a short time, the traditions of realistic art were forgotten and lost, and drawing became conventional and schematic.

Scientific knowledge of the world was condemned, and any attempt to substantiate observations of nature was suppressed. The study of nature and nature in the academic sense was not practiced.

Wed. centuries-old fine art rejected realistic trends because realistic nature evoked an “earthly” feeling; everything was approved or rejected by the church. Wed. centuries-old artists did not work from life, but according to samples that were stitched together in notebooks, which were contour sketches of compositions of various church scenes, individual figures, draperies motifs, etc. They were guided by them when performing both wall paintings and works of easel painting, etc. because industrial relations at this time contributed to the development of craft labor and the creation of corporations. Drawing training took place from a master who followed neither a strict system nor clear teaching methods. Mostly, the students studied on their own, looking closely at the work of the master.

The great masters of Greece strove for a real depiction of nature, the artists of the Middle Ages, submitting to church dogmas, moved away from the real world to abstract and mystical creativity. Instead of the beautiful nakedness of the human body, which inspired and taught Greek artists, heavy, strict and angular draperies appeared, distracting artists from the study of anatomy. Neglecting earthly life and caring only about the afterlife, the churchmen considered the desire for knowledge to be the source of sin. They condemned scientific knowledge of the world, and suppressed any attempt to substantiate observations of nature.

The ideologists of medieval fine art rejected realistic trends not because they were against the real interpretation of images, but because realistically conveyed nature evoked an “earthly” feeling in the viewer. A believable depiction of the form of the real world instilled joy in the soul of the viewer, and this went against religious philosophy. When the real interpretation of the form, which sometimes reached the point of naturalistic illusoryness, corresponded to the religious plot, it was favorably accepted by the church. We know many works of the Middle Ages that are distinguished by realistic features. They resemble images of people of that era.

. Drawing in the Renaissance. Renaissance artists and their contribution to the methods of teaching drawing (Cennino Cennini, Alberti, Leonardo da Vinci, A. Durer, Michelangelo. Chipping method. Veil method)

The Renaissance opens a new era not only in the history of the development of art, but also in the field of methods of teaching drawing. At this time, the desire for realistic art, for a truthful conveyance of reality, is being revived. The masters of the Renaissance actively took the path of a realistic worldview, sought to reveal the laws of nature and establish a connection between science and art. In their research they rely on the achievements of optics, mathematics, and anatomy. The teachings of proportions, perspective and plastic anatomy are the focus of theorists and practitioners of art.

During the Renaissance, high respect for drawing was restored. Drawing had to be studied by everyone who was involved in art.

The first scientific work - “Treatise on Painting” - belongs to Cennino Cennini. The basis of training should be drawing from life. he rightly believes that mastering the art requires daily work from the student. at the same time, he pays too much attention to copying the drawings of masters.

The next most recent work on drawing is “Three Books on Painting,” created by the greatest Florentine architect Leon Battista Alberti. This is the most remarkable work of all that has been written on the theory of drawing during the Renaissance. Treatise on drawing and the basic rules for constructing an image on a plane. Alberti views drawing as a serious scientific discipline, with laws and rules as precise and accessible to study as mathematics.

Alberti's work is of particular value from a pedagogical point of view. In his treatise, he gave a number of methodological provisions and guidelines for teaching drawing. He writes that the effectiveness of art teaching lies, first of all, in scientific justification. Alberti attaches great importance to the study of anatomy. Alberti suggests basing the entire learning process on drawing from life

He was the first to speak openly about the deep meaning of art, to realize the need to enrich art with the experience of science, to bring science closer to the practical tasks of art. Alberti is great as a scientist and as an artist-humanist.

The next most recent work in the field of drawing theory is “The Book of Painting” by Leonardo da Vinci. This book contains a wide variety of information: about the structure of the Universe, about the origin and properties of clouds, about sculpture, about poetry, about aerial and linear perspective. There are also instructions on drawing rules here. Leonardo da Vinci does not put forward new methods and principles; he basically repeats already known principles.

Leonardo da Vinci, like Alberti, believes that the basis of the methodology for teaching drawing should be drawing from life. Nature forces the student to carefully observe, study the structural features of the subject of the image, think and reflect, which in turn increases the effectiveness of learning and arouses interest in learning about life.

Leonardo da Vinci attached great importance to scientific education. Leonardo himself was engaged in serious scientific research. Thus, studying the anatomical structure of the human body, he performed numerous autopsies of corpses and went much further in this matter than his contemporaries.

Leonardo da Vinci also gives fair methodological guidelines for drawing an object from life. He points out that the drawing must begin with the whole, and not with parts. Leonardo pays special attention to drawing the human figure. The method of consolidating the material covered by drawing from memory is also of interest.

Among the Renaissance artists who dealt with educational issues, the German artist Albrecht Dürer holds a prominent place. His theoretical works are of great value, both in the field of teaching methods and in the field of posing problems of art. Dürer's writings greatly contributed to the further development of methods of teaching drawing. Dürer believed that in art one cannot rely only on feelings and visual perception, but mainly it is necessary to rely on accurate knowledge; He was also concerned about general issues of pedagogy, issues of teaching and raising children. Among Renaissance artists, few thought about this.

When teaching drawing and the laws of constructing a realistic image of objects on a plane, Dürer put perspective in the first place. The artist himself devoted a lot of time to studying perspective. Durer's second, most significant work, “The Doctrine of Human Proportions,” is the fruit of the work of almost his entire life. Dürer summarized all the known data on this issue and gave it a scientific development, attaching a huge number of drawings, diagrams and drawings. The artist tried to find the rules for constructing the human figure through geometric proof and mathematical calculations

The method of generalization of form developed by Dürer (later called chopping) is of especially great value for artistic pedagogy. The chopping method is as follows. To depict the shape of a simple geometric body, such as a cube, according to all the rules of linear perspective, is not particularly difficult even for a novice draftsman. Give the correct perspective image complex figure, such as heads, hands, human figures, is very difficult. But if you extremely generalize a complex shape to rectilinear geometric shapes, then you can easily cope with the task. The chopping method helps the beginning draftsman correctly solve the tonal problems of the drawing. The method of analyzing and constructing images proposed by Dürer had a striking effect in teaching and was used and further developed in the pedagogical practice of artist-teachers.

Their work in the field of perspective helped artists cope with the difficult problem of constructing the three-dimensional shape of objects on a plane. After all, before them there were no artists who knew how to construct a perspective image of three-dimensional objects. The artists of the Renaissance, in fact, were the creators of a new science. They proved the correctness and validity of their positions both theoretically and practically. Renaissance painters also paid a lot of attention to the study of plastic anatomy. Almost all draftsmen were interested in the laws of proportional relationships between parts of the human body. Each treatise carefully analyzed the proportions of the human face, as well as other parts of the body. Renaissance masters skillfully used the data of their observations in the practice of fine art. Their works amaze the viewer with their deep knowledge of anatomy, perspective, and the laws of optics. Using these sciences as the basis for fine art, Renaissance artists paid special attention to drawing. Drawing, they declared, contains all the most important things that are required for successful creative work.

The method of drawing from life using a veil is based on the principle of strict adherence to the laws of perspective. So that the artist could strictly maintain a constant level of vision, and in the drawing - a constant vanishing point, Alberti proposed using a special device - a curtain.

. Academic system of art education in the 16th - 12th centuries (Pedagogical ideas of J. A. Comenius, D. Locke, J. J. Rousseau, Goethe)

At the end of the 16th century, new directions appeared in the field of art education and aesthetic education, new pedagogical principles and guidelines. The methodology for teaching drawing began to be structured differently. The century in the history of methods of teaching drawing should be considered as the period of the formation of drawing as an academic subject and the development of a new pedagogical teaching system - academic. The most characteristic feature of this period is the creation of special educational institutions - art academies and art schools, where the teaching of drawing was seriously emphasized.

The most famous was the Bologna Academy of Fine Arts, founded by the Carracci brothers. Academy students thoroughly study anatomy - not from books, but by dissecting corpses. The Carracci developed a teaching methodology in detail, considering drawing to be the basis of fine art. In their methodological guidelines, they indicated that the artist must rely on the data of science, on reason, because the mind enriches feelings. The academies aimed to provide serious training in the field of fine arts. They educated youth by examples high art antiquity and the Renaissance. Traditionalism became a characteristic feature of all subsequent academies. Studying the heritage and perceiving the artistic culture of their predecessors, the academies carried all this to the next generation of artists, strictly protecting the great and unshakable foundation on which this tradition was created.

Along with state academies, private schools continued to exist, where students received fairly solid vocational training. The largest and most richly equipped with teaching aids was the workshop of the greatest Flemish artist Peter Paul Rubens (1577-1640). In the 17th century, this was the best drawing school among private workshops. Rubens' students were such famous artists and excellent draftsmen. Rubens attached particular importance when teaching drawing scientific evidence laws of perspective, chiaroscuro, plastic anatomy.

For the first time after Pamphilus, the idea of ​​​​the benefits of drawing as a general educational subject was expressed by the great Czech educator Jan Amos Comenius (1592-1670) in his “Great Didactics”. True, Comenius had not yet decided to include drawing in the school curriculum as a compulsory subject. However, the value of these thoughts was that they were closely related to issues of pedagogy. In Chapter XXI of the “Great Didactics,” entitled “The Method of the Arts,” it is indicated that in order to learn art, three requirements must be observed: correct use; reasonable direction; frequent exercise.

Komensky, considering drawing as a general education subject, does not make sharp differences in the methods and systems of teaching art in general education and special schools. It relies on the already established system of teaching drawing in art academies, on proven teaching methods.

Almost simultaneously with Comenius, the English teacher and philosopher John Locke (1632-1704) began to defend the general educational value of drawing. In his book “Thoughts on Education” he writes: “If a boy has acquired a beautiful and quick handwriting, he should not only maintain it with careful practice in writing, but also improve his art through drawing. Drawing will be useful when traveling young man; Often with a few features he will be able to depict buildings, cars, clothes and other things that cannot be explained by any verbose descriptions. But I don’t want him to become a painter; this would require more time than he has left from other important activities.” However, J. Locke does not give methodological instructions on teaching drawing; he limits himself only to general discussions about the benefits of learning to draw.

The French philosopher and encyclopedist Jean Jacques Rousseau (1712-1778) spoke in more detail about drawing as a general educational subject. In his book “Emile,” Rousseau writes that for understanding the surrounding reality, the senses that can be developed in a child are of great importance by teaching him to draw from life. Rousseau correctly points out that drawing classes should be conducted in nature, since in nature the student can clearly see the phenomena of perspective and understand its laws. In addition, by observing nature, the student develops his taste, learns to love nature, and begins to understand its beauty. Rousseau believes that learning to draw should take place exclusively by nature. In this regard, Rousseau takes the methodology of teaching drawing more seriously than his predecessors. The pedagogical ideas of Comenius, Locke, and Rousseau significantly enriched the theory and practice of art. Their theoretical works served as an impetus for the further development of artistic pedagogy.

During this period, the authority of the academy was strengthened not only as an educational institution, but also as a trendsetter of artistic tastes. Recognizing ancient art as the highest example and relying on the traditions of the High Renaissance, almost all European academies are beginning to create an ideal school of fine arts in the broad sense of the word. Drawing in the art education system is still considered as the basis. But learning to draw from life begins with studying classical examples of antiquity. Only a serious study of ancient Greek sculptures will help a beginner learn the laws of nature and art; only classical examples will reveal to the artist the ideas of beauty and the laws of beauty, they argued in the academies.

The position on the benefits of drawing as a general educational subject was expressed by the great Czech teacher A. Komensky in his “Great Didactics”. True, Comenius had not yet decided to include drawing in the school curriculum as a compulsory subject. But the value of his thoughts about drawing was that they were closely related to issues of pedagogy. Of particular value to us are Comenius’ thoughts on the need to study teaching methods. Almost simultaneously with Comenius, the English teacher and philosopher John Locke began to defend the general educational value of drawing. However, not being a specialist, J. Locke could not give methodological instructions in teaching drawing. He limited himself to general discussions about the benefits of learning. The French philosopher-encyclopedist Jacques-Jean Rousseau spoke more in detail about drawing as a general education subject. He believed that drawing should be taught exclusively from nature and that a child should have no other teacher than nature itself. Many valuable thoughts about the methodology of teaching drawing were expressed by Johann Wolfgang Goethe. To master the art of drawing you need knowledge, knowledge and knowledge, he said. The pedagogical ideas of Comenius, Locke, Rousseau, and Goethe enriched the theory and practice of teaching drawing. Their theoretical works served as an impetus for the further development of pedagogical thought in general and in the field of methods of teaching drawing in particular.

. The role of I.G. Pestalozzi in the development of drawing as a general educational subject. Disciples and followers of I. G. Pestalozzi (I. Schmidt, P. Schmidt, Dupuis brothers)

In the 18th - first half of the 19th centuries, drawing began to firmly gain its place in secondary schools. This was started by the Swiss teacher Johann Heinrich Pestalozzi (1746-1827), who was not accidentally called the father of school methods by art teachers. Pestalozzi considers drawing at school as a general education subject. All knowledge, in his opinion, comes from number, form and word. The first step to knowledge is contemplation. To be able to think correctly, it is necessary to correctly consider the surrounding nature. Drawing is the most perfect way to acquire this skill. A special role, according to Pestalozzi, should belong to drawing in primary school. In his diary, which deals with raising his son, drawing occupies a central place. Daily classes begin with drawing. Drawing, Pestalozzi argues, should precede writing, not only because it facilitates the process of mastering the outline of letters, but also because it is easier to assimilate

Pestalozzi himself, according to his contemporaries, did not know how to draw, so he does not give clear and specific rules for teaching drawing, limiting himself to general pedagogical remarks. But his didactic instructions and pedagogical ideas were so important and vital that they served as the basis for the further development of drawing methods in secondary schools.

Pestalozzi attaches great importance to teaching methods. The success of learning to draw, says Pestalozzi, depends on a properly constructed system. Artists think little about teaching methods; they take roundabout paths, so their art is accessible only to a select few (especially gifted ones). However, everyone can be taught the basics of drawing, and drawing, which has great general educational significance, should take its place in school along with other academic subjects.

Pestalozzi fully outlined his views on drawing techniques in the book “How Gertrude Teaches Her Children.” Pestalozzi’s merit also lies in the fact that he considered it necessary to be guided by the age characteristics of students when developing a teaching system

According to Pestalozzi, bringing educational material into a coherent system, establishing a close connection between knowledge and drawing skills will necessarily develop in students the skills to consciously apply them in independent work

Pestalozzi believes that learning to draw should take place from life, since nature is accessible to observation, touch and measurement. In accordance with this attitude, he defines the term “drawing” itself as the establishment of form through lines; the magnitude of the form, he points out, can be established by precise measurement. It is drawing from life, according to Pestalozzi, that develops the child: it is enough to teach him to draw from life models taken from the real life and nature around him; even if these first contours are imperfect, their developmental value is much greater than drawing from imitations, that is, from ready-made drawings. In drawing, Pestalozzi attaches great importance to methods of developing the eye. The ability to measure is the ABC of observation

His general comments are of great value. Pestalozzi's merit lies in the fact that he was the first to combine the science of school teaching with art, and raised the question of the need methodological development each position of the picture. He believed that for the development of the eye there should be one method, for understanding forms - another, for technology - a third. This work was carried out by his students and followers.

After Pestalozzi, drawing as a general education subject began to be introduced in all primary schools. Pestalozzi's pedagogical ideas are further developed. The first such work is the book “Elements of Drawing Based on the Ideas of Pestalozzi,” written by his student Joseph Schmidt. When learning to draw, I. Schmidt suggests carrying out special exercises: to develop the hand and prepare it for drawing; exercises in creating and finding beautiful shapes; exercises for developing imagination; exercises in geometric drawing of objects; in perspective.

To make the work easier for students, I. Schmidt suggests placing a sheet of cardboard behind the nature, on which a grid of squares is depicted. When drawing a model from life, the student could always check the inclination and nature of the contour (silhouette) of the object in relation to vertical and horizontal lines, and the cells helped to correctly find the proportions. After the initial drawing course, Schmidt advises moving on to artistic drawing, where the student begins to draw a person, first from a plaster model, and then from a living model. The course ends with drawing trees and landscapes from life.

Another student of Pestalozzi, Ramsauer, published a work entitled “Teaching Drawing,” where the idea of ​​drawing on a blackboard was first outlined. The new method was as follows: all kinds of lines were drawn on a large chalkboard in the form of preliminary exercises, exercises were proposed to develop the eye - drawing lines to certain points, dividing lines into parts, drawing lines at a certain angle (inclination). The next stage was drawing geometric figures and characteristic forms of nature and art. The teacher should depict all this on the blackboard, and students should monitor the emergence and development of each form. The course ended with drawing from life, first of household items, then of plaster heads, and finally of a living head.

The works of the Berlin art teacher Peter Schmid had a great influence on the development of school methodology. He first introduced to secondary schools and developed in detail the method of drawing from life, using various geometric models for this. Schmid initiated the development of the so-called geometric method. Schmid's merit was that he developed a methodology for teaching drawing, based on general pedagogical principles. According to Schmid, drawing is not only a mechanical exercise of the hand, it is also a gymnastics of the mind, and observation, a general sense of form, and imagination are also exercised. The sequence of teaching drawing, according to Schmid, should be as follows: first, an image of the simplest form - a parallelepiped, then an image of the curvilinear shapes of objects - and so gradually the student is led to drawing from plaster heads and busts. Each task determines the next one, and the next one presupposes the previous one and is based on it.

Schmid considered copying pictures not only not to bring any benefit to the student, but even harmful. He said that copying only helps to acquire a mechanical skill and does not in any way contribute to the mental development of children.

in the first half of the 19th century, the method of the Dupuis brothers became widespread in secondary schools. Dupuy's method of teaching drawing was structured as follows: first, students study and depict the simplest models (wire) without perspective phenomena - frontally, then - wire models with perspective cuts. This is followed by drawing flat figures, followed by three-dimensional ones. The methodological sequence when drawing each group of models was followed the same: first - a frontal image of the model, then - a perspective one.

The Dupuy brothers' method of teaching drawing had one more feature - at first the students drew on black boards with chalk, and when they acquired some skill in drawing, they moved on to working on paper. To develop a sense of form, Dupuis introduced clay modeling classes.

The Dupuis brothers' method of teaching drawing has not lost its importance to this day. Some models developed by him are used by artist-teachers. Thus, teachers of the art and graphic faculty of Moscow State Pedagogical Institute named after. V.I. Lenin, when teaching drawing according to the method of D.N. Kardovsky, Dupuis models are used.

. Drawing in Russia XVIII century. (Preysler, G. A. Gippius)

Until the 18th century, the main method of teaching drawing was the copying method. As a general educational subject, drawing had not yet received widespread development at that time; it began to be introduced into educational institutions only at the beginning of the 18th century.

The strengthening of the power of Russia and the reforms of Peter 1 caused a general rise in culture in the country. There was a great need for people who could draw maps, make drawings and illustrate books.

In 1711, at the St. Petersburg printing house, Peter I organized a secular drawing school, where students not only copied originals, but also drew from life.

Teacher-artists are invited from abroad and contracts are concluded with them.

Drawing is beginning to be widely introduced into educational institutions. To properly organize the methodology of teaching drawing in these educational institutions, the book by I. D. Preisler “Fundamental Rules, or a Brief Guide to Drawing Art” was published. This was the first serious method A manual on drawing in Russia. Preisler's book is of particular interest to us from a methodological point of view. The manual outlines a specific system for teaching drawing. The book gave instructions not only to aspiring artists, but also to those who taught drawing.

Training in the Preisler system begins with an explanation of the purpose of straight and curved lines in drawing, then geometric figures and solids, and, finally, the rules for using them in practice. The author, with methodological consistency, shows the student how to master the art of drawing, moving from simple to complex.

Whatever object Preysler offers for drawing, he first of all tries to help the student cope with the difficulties of analyzing the shape of the object and constructing it on a plane. It clearly shows how to systematically construct an image.).

Like most artist-teachers of that time, Preysler based his teaching of drawing on geometry. Geometry helps the draftsman to see and understand the shape of an object, and when depicting it on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with knowledge of the rules and laws of perspective and plastic anatomy.

Preysler attaches great importance to the ability to master linear drawing.

Preysler's manual was highly regarded by his contemporaries; it was reprinted several times both abroad and in Russia. At that time, there was no more detailed and clear methodological development on educational drawing, so Preisler’s work in Russia was used for a long time not only in general educational institutions, but also in special art schools.

This assessment of Preisler's method cannot be considered correct from a historical point of view. It is no coincidence that his work was such a great success for a whole century, although during this time many different manuals and drawing aids were published both in Russia and abroad. Of course, today one can find flaws in Preysler’s book, but for the sake of historical truth it must be pointed out that for its time it was the best guide. The knowledge that the student received from studying Preysler’s course helped him in the future to draw from life, as well as to draw from memory and from imagination, which is so important for an artist.

So, by the end of the 18th century, drawing as a general educational subject began to become widespread. At this time, Russia became a powerful power. In connection with the development of the economic and social life of the country, the need for people with visual literacy and the ability to draw and paint has sharply increased.

A number of theoretical works appear, which prove the need to master graphic skills and emphasize the importance of drawing as a general educational subject.

In 1844, G. A. Gippius published the work “Essays on the Theory of Drawing as a General Educational Subject,” dedicated to drawing as a general educational subject. This was the first major work on this topic; it covered both general theoretical issues of pedagogy and fine arts, as well as issues of methods of teaching drawing.

Much was done during this period in the field of publishing various manuals, manuals and tutorials on drawing.

The book is divided into two parts - theoretical and practical. The theoretical part outlines the basic principles of pedagogy and fine arts. The practical part reveals the teaching methodology.

Gippius strives to scientifically and theoretically substantiate each position of the methodology for teaching drawing. He views the teaching process itself in a new way. Teaching methods, says Gippius, should not adhere to a specific template; good results can be achieved using different teaching methods. In this respect, Gippius anticipates the modern understanding of teaching methodology as the art of teaching. To learn to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and it must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methods, according to Gippius, should be based not only on data from practical work, but also on data from science, and above all psychology. Gippius has very high demands on his teacher. A teacher must not only know and be able to do a lot, but also perform in front of students as an actor. Each student's work should be in the teacher's field of view.

Gippius closely links the provision of the class with equipment and materials to questions of methodology.

The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general education subject; it greatly enriched teaching methods.

We do not find such a serious and in-depth study of issues of teaching methodology in that period from anyone, even the most outstanding representative of pedagogical thought. All of them were limited to the presentation of general theoretical principles of pedagogy, on which the methodology should be based; artist-teachers paid main attention to the rules of drawing. Meanwhile, the bulk of teachers needed precisely the disclosure of the teaching methodology itself, and in this regard, Gippius did something of great importance. Many researchers of the history of drawing teaching methods omitted these important points in their works.

9. Art education in the 19th century. Drawing schools. “Drawing course” and visual aids by A. P. Sapozhnikov

A characteristic feature of the artistic life of Russia in the 19th century is the active search for forms and methods of artistic education and upbringing of members of society. In this regard, the opening of art schools in various cities, publication of artistic associations and organizations, promotion of the arts through exhibition and publishing activities.

In 1804 The school charter introduces drawing into all district schools and gymnasiums.

1706-97 the Drawing School created by Peter appeared<#"justify">The method clearly and simply revealed the most complex concepts related to the construction of a three-dimensional image on a plane and made a revolution in educational work. Because the best way to help a student correctly construct an image of the shape of an object is to simplify it at the beginning of drawing - to determine the geometer. the basis of the shape of the object, and then move on to refinement. Sapozhnikov's method had much in common with Dupuis's method, but was published earlier (Sapozhnikov - in 1834, and Dupuis - in 1842). Almost all modern methods include A. Sapozhnikov’s system as a base one.

10. Pedagogical views P.P. Chistyakova

Features of the art school of drawing by P. P. Chistyakov.

P. P. Chistyakov believed that the Academy of Arts of the time he taught (1872-1892) needed reform and new methods of working with students, it was necessary to improve the methods of teaching drawing, painting, and composition.

Since 1871, Chistyakov took an active part in the production of drawing in secondary schools.

Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method educated not just an artist-master, but an artist-creator. Chistyakov attached decisive importance to drawing in his system, called for penetrating into the very essence of visible forms, and recreating their convincing constructive model on the conventional space of a sheet. The advantage of Chistyakov’s teaching system was integrity, unity at the methodological level of all its elements, logical progression from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).

He attached great importance to color, seeing color as the most important means of figurative expressiveness and revealing the content of a work.

Composing a picture is the result of the artist’s training, when he was already able to comprehend the phenomena of the surrounding life, summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.

Chistyakov's methods of teaching drawing are comparable to the methods of the famous Munich art schools.

Over many years of teaching, Chistyakov developed a special “drawing system.” He taught to see nature as it exists and as it appears, to combine (but not mix) the linear and pictorial principles, to know and feel the subject, regardless of what needs to be depicted, be it a crumpled sheet of paper, a plaster cast or a complex historical plot. In other words, the main provisions of the “system” were the formula for a “living relationship with nature,” and drawing was a way of understanding it.

Chistyakov's methods, quite comparable to the methods of the famous Munich art schools, his ability to guess the special language of each talent, and careful attitude towards any talent gave amazing results. The variety of creative individualities of the master’s students speaks for itself - these are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.

Carrying out analysis pedagogical activity P. P. Chistyakov, it is possible to identify the main components of his work system, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components: the goals and objectives of teaching as the starting point for the functioning of the pedagogical system; scientifically based content of educational material; the use of various types and forms of classes, thanks to which students’ activities were organized to master artistic literacy in drawing; various forms of control, with the help of which possible deviations from the assigned tasks were prevented when performing the drawing; the constant self-improvement of P.P. Chistyakov himself took place, which was aimed, first of all, at improving the positive impact on students. Also, an integral part of Pavel Petrovich Chistyakov’s system of work was built relationships with students, which had a humanistic orientation, aimed at communication with students, dialogue and respect for the individual. P. P. Chistyakov (1832-1919) is known not only as an artist, but also as an outstanding teacher, whose many years of work at the Academy of Arts largely determined the fate of the realistic school of painting in Russia at the end of the 19th - beginning of the 20th centuries. Pedagogical views of P. P. Chistyakov received recognition already in Soviet times and were summarized in a number of art criticism works. Despite the existence of a number of works devoted to the activities of Chistyakov, his pedagogical system is so revolutionary in nature and does not find analogies in the theory and practice of other national art schools. The bold and consistent solution to the pressing problems of modern art that Chistyakov found was not based on refusal, but on the comprehensive use of existing traditions, which allowed him to create a school. fundamentally new, raising the greatest masters of Russian painting from the end of the last - beginning of this century. Chistyakov’s system was not a simple, albeit talented experiment of a wonderful teacher. All its sides were built in the perspective of the art that it expressed and served. And this internal dynamite contained in it for further development national painting determined that (some of its provisions have retained their significance in our time. ! The Chistyakov system is scientific and artistic in the greatest and deepest sense of these concepts. This system was based on a complete revision of previously existing teaching methods and at the same time served to systematize and rethink them on the basis new ideological premises. The main role in Chistyakov’s teaching system was played by the picture plane, which acted as an intermediary between the life and the drawer and helped to compare the image with nature. That is why Chistyakov called his drawing system as a whole a “test drawing system.” Considering drawing as a serious academic subject ; Chistyakov pointed out that his teaching methodology should be based on the laws of science and art. The teacher does not have the right to mislead the student with his subjective reasoning, he is obliged to provide reliable knowledge Great value for us represent Chistyakov’s ideas regarding the relationship between teacher and students. “A real, developed, good teacher does not beat the student with a stick; in case of an error, failure, etc., he tries to carefully explain the essence and do it skillfully to guide the student on the true path.” When teaching students to draw, we must strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the student not only to pay attention to the subject, but also to see its characteristic aspects. In educational drawing, issues of observation and knowledge of nature play a paramount role. Like learning to draw, Chistyakov breaks down the science of painting into several stages. The first stage is mastering the figurative nature of color, developing young artist, the ability to be precise in determining the color shade and in finding its correct spatial position. The second stage is to teach the student to understand the movement of color in form as the main means of conveying nature, the third is to teach how to solve certain plot and plastic problems with the help of color Chistyakov was a true innovator who turned pedagogy into high creativity. Taking into account the modern requirements of art, he not only revised certain aspects of teaching, but also completely revolutionized it, starting with the question of the relationship of art to reality and ending with professional skills and abilities. His teaching system educated an artist in the true sense of the word. Mastery came as the artist's maturity, and not as the craft basis of his work. The system was based on a deeply realistic, objective reflection of the world through the artist's feelings and understanding of life. Chistyakov was one of the first to prove that an artistic image is not a painter’s systematization of what he sees, but an expression of his own experience.

. Drawing in general education and special educational institutions of Russia in the 18th - 19th centuries. Methods of teaching drawing at the Imperial Academy of Arts

The idea of ​​the importance of art education in primary, secondary and higher educational institutions of various non-artistic specializations and the systematic training of students in the fine arts along with other general education subjects - reading, writing, arithmetic - in domestic pedagogy was formulated in the 18th century.

Professional art education in Russia in the 18th century. could be obtained in private workshops (I. Argunov, P. Rokotov), ​​at the School of Drawing, organized by Peter I in 1711 at the St. Petersburg Printing House. Since 1758, the Academy of the Three Most Notable Arts became the scientific and methodological center of art education.

The methodology for teaching “drawing” was modeled after the Academy of Arts: mastering technical skills in the process of copying samples. As originals for copying by students in schools, they used “Fundamental Rules, or a Brief Guide to Drawing Art” by I. D. Preysler, “Drawing Course” by A. P. Sapozhnikov

Thus, by the end of the 18th century. Drawing as a general education subject has become widespread. In connection with the rapid development of industry and urban planning, the increase in the number of industrial enterprises, the need for people with visual literacy and the ability to draw and draw has increased, which affected the inclusion of the subject “Drawing” in the curriculum.

The Academy of Arts is a higher specialized educational institution, its role in the life of Russia was leading. Initially, art academies were private studios and creative communities of art masters, their goal was to preserve and develop the highest traditions of art, guide the formation of aesthetic views, criteria and norms of artistic creativity and create an art school and professional education on this basis.

In Russia, the first Academy of Arts was founded in 1757 in St. Petersburg as the “Academy of the Three Most Noble Arts” - painting, sculpture and architecture. In 1764, the Imperial Academy of Arts was created with its Educational School. Throughout its history, the St. Petersburg Academy has been the main Russian center of art education. The largest Russian architects, sculptors, painters, and engravers underwent strict, demanding training at the Academy.

From its very inception, the Academy of Arts was not only an educational and educational institution, but also a center artistic education, because she regularly organized exhibitions. Museums were founded under her science Library, still included in the structure of the academy.

An important area of ​​activity of the Academy of Arts in the 20th century. was the training of art historians and art history teachers for museums and educational institutions in Russia. In 1944, the Institute of Painting, Sculpture and Architecture, created on the basis of the Russian Academy of Arts, was named after the great Russian painter I. E. Repin.

The institute maintained, developed and formed relationships based on the continuity of the traditions of the St. Petersburg school. The academy's students raised new talented students, and also carried educational traditions to the cities of Russia. The role of the Academy of Arts in the development of Russian art education in the life of Russia was leading.

. Studies of children's visual creativity at the end of the 19th - beginning of the 20th centuries (Biogenetic concept of children's visual creativity and the theory of free education. K. Ricci, Lamprecht, G. Kerschensteiner)

Art education is considered as part of artistic culture. Children's drawing is part of art. culture, and the child is the protagonist of the cultural process. Consideration of children's drawings in the historical aspect, as a phenomenon of art. culture. assumes: 1st analysis from the point of view of content and methods of art. education; 2nd place for a child and his creativity in art. culture; 3-psychological characteristics of age-related development; 4 influence of pedagogical individuality - interaction between the student and his mentor in art. Georg Kerschensteiner’s book “The Development of the Artistic Creativity of the Child,” published in Russia in 1914, became the first fundamental study of the drawings of school-age children from 6 to 13. Particular attention is paid to artistic expression, manifested in free and decorative drawing at different ages of children. The purpose of the study was to study the development of drawing ability in addition to systematic external influences.

German scientists have established: differentiation of the sexes in the sense of artistic talent; different attitudes between city and rural children; connection of intellectual development with the ability of graphic representation.

Russia at the end of the 19th and beginning of the 20th century was characterized by increased interest in methods of teaching drawing in both special and general educational institutions.

Child psychology began to be studied. Corrado Ricci 1911. I noticed that the children chose a person as one of the central objects of the image. . Ricci compared children's creativity with the art of prehistoric and primitive eras, which served as the basis for the use of the biogenetic theory to explain the development of children's visual creativity. Comparison children's creativity with the history of art led to the identification of stages of development common to all children, developed in the studies of Kershensteiner 1914, which were subsequently interpreted by Lamprecht 1909 as the discovery of the forms of children's drawing: 1st stage - diagrams - shapeless scribbles and primitiveness. 2nd stage of the sense of form and line is a mixture of formal and schematic, 3rd - the stage of a plausible image - the stage of silhouettes and contours. 4th stage of plastic image. Kershensteiner assessed children's drawings based on social characteristics- urban or rural. . argued that the development of a drawing must go through all 4 stages. Regardless of age, he must outlive each previous stage. Denial of the teaching principle led to the absence of image construction. He was against the geometric method. The theory of free education.

When exploring methods of teaching drawing at the turn of the century, one must take into account that at that time drawing included drawing from life, decorative, thematic and conversations. This period would be very difficult and contradictory. The clarity and rigor of the drawing is noticeably reduced. A row appears research work, the child’s psyche is studied. Kerschensteiner. During this period everything gets mixed up. Free education, disagreement between supporters of geometric and natural method and formalists. representatives of the geometrical method defend the academic direction, representatives of the natural method adhere to the theory of free education. Drawing classes at school began to be viewed too narrowly. Some theorists say that there is nothing to study fine art in school - they say this is the task of an art school. When introducing children to the fine arts, it is necessary to provide them with more opportunities for independent creativity. In this regard, in visual activities we do not see any age difference at all. All works are equally naive and helpless in art; they are all united by the common term children's drawing. In many schools, the strict teaching system is broken, and drawing as a general education subject is losing its knowledge. Picasso wrote: that we are assured that children should be given freedom, but in fact they are forced to make children's drawings. They teach this. Formalist bourgeois art had its influence on teaching methods in secondary schools. The entire system and teaching methods of this period were aimed at developing the individuality of each student and the inviolability of his artistic personality. School is not needed - in school the artist loses his natural qualities. . many saw strict realistic drawing as a shackle that limited the artist’s creative possibilities. Adherents of free education opposed the academic study of nature, against school in general. Everyone, from the impressionists to the abstractionists, goes under the slogan - down with school, freedom of creativity. Formalist movements had a detrimental effect on the art school and on the methods of teaching drawing. Separating form from content, denying the cognitive significance of art, led art to nonsense. But there were schools and individual artists who continued to defend the principles of realistic art.

From the second half of the 19th century, school methodology began to be developed more deeply and seriously. True, during this period there were many disputes between methodologists about the advantage of one method over another. The methods of teaching drawing at school have always been influenced by the aesthetics of art. Sometimes this influence was negative, such as the influence of formalist art. Neglect of the basics of realistic drawing, withdrawal from the real world, denial of school—these are the basic principles of formalist art that caused serious damage to the development of methods for teaching drawing in secondary schools. Drawing as a general education subject is losing its importance. Interest in children's drawing limited only to the study of children's creativity. Art critics begin to sing his praises, artists imitate children. There is talk about preserving the childish, naive spontaneity of perceiving the world, and about the fact that learning in general has a harmful effect on the development of the child.

By the age of 30 20th century V. leading theorists on issues of art. raising children become: in Germany-G. Kershensteiner, in America - J. Dewey, in our country - A. V. Bakushinsky. Despite different approach to the problem being solved and its different interpretations, all of them are inspired by a common idea - the idea of ​​“free education”, the affirmation of the child’s personality with his right to express his feelings and thoughts, the removal of the teacher from leadership. According to them, children do not need to master graphic literacy, especially at the initial stage of education. Drawing from life as one of the means of understanding the world around us, drawing as the basis of art is losing its importance every year. Some theorists of children's creativity are beginning to declare that in a general education school children should not be taught visual, graphic literacy - this is a bad task. school, and to promote the overall aesthetic development of the child. In the 50s 20th century In many schools in foreign countries, the strict teaching system is broken, and drawing as a general education subject is losing its importance. Drawing as such has completely disappeared, and therefore the methods of teaching drawing in secondary schools have disappeared. The main theme of all international symposiums is aesthetic education, the problem of comprehensive human development.

. Soviet period of art education. Art education in the first decade of Soviet power. The state of teaching drawing and fine arts in the Soviet school of the 20s - 30s (Formalistic and realistic directions of artistic life. Russian Academy of Sciences. Formation of a system of higher graphic education. Pedagogical system of D. N. Kardovsky)

First experiments Soviet society of the late 20s and early 30s felt shortcomings in the art education system. Weakening ties with the traditions of the academic school of fine arts. In the early 20s, many schools did not teach children correct, realistic drawing. The abstract-schematic direction of education not only negated the significance of the methodology, but also distorted the goals and objectives of teaching drawing in secondary schools. Drawing not only did not give children anything for mental development, but essentially interfered with their aesthetic education. In the 20s, drawing methods were developed in schools in a variety of areas, but two of them became widespread: the method of developing “free creativity” and the “comprehensive” teaching method.

In our country, all conditions have been created for the development of fine arts and art education. The abolition of class, the democratization of schools, and the separation of school and church led to the restructuring of all school education. Public education workers were tasked with restructuring the content, forms and methods of teaching. A prominent representative of “free education” and the biogenetic theory underlying it was A. V. Bakushinsky. In the late 20s and early 30s, formalistic methods began to be subject to fair criticism. The revision of the content of programs and curricula led to a restructuring of the methods of teaching drawing in school. The 1931 program was based on life drawing. Along with it, the program devoted space to drawing on themes, presentation, and decorative drawing. Conversations about art were important. The art school stood in the way of realistic art. The question of creating a new academy of arts was raised. A firm line in building a new school and a new teaching system required paying serious attention to the training of teaching staff. In 1937, the Leningrad Institute of Painting, Sculpture and Architecture and the Moscow Institute of Fine Arts were opened. In these educational institutions, academic drawing took a leading place. Most artist-teachers come to the conclusion that the basis of any teaching method should be drawing from life, which provides high professional training for artists.

Kardovsky D.N. - made a great contribution to the methodology, encouraged students to build a three-dimensional form on a plane and analyze it. At the beginning of the drawing, you should strive to break the entire figure into a plane, chop off the shape until a large shape emerges; you do not need to draw out the details. Particularly important is the constructive connection between parts of the shapes of objects. Kardovsky was an opponent of thoughtless copying of chiaroscuro. Kardovsky courageously defended the positions of realistic art and protected young people from the influence of formalism. Thanks to his strong convictions, clear and methodically developed system of teaching drawing, Kardovsky had a large number of students and ardent followers.

. Formation of the system of higher art and graphic education. The state of teaching drawing and fine arts in Soviet schools from the 40s to the 60s of the XX century (Research work in the field of visual activity of children - N. N. Volkov, L. S. Vygotsky, E. I. Ignatiev, V. I. Kirienko, V. S. Kuzin)

After the Great Patriotic War, a reform of art education was carried out in our country. On August 5, 1947, a resolution of the Council of Ministers of the USSR “On the transformation of the All-Russian Academy of Arts into the Academy of Arts of the USSR” was adopted. The government entrusted the Academy of Arts with the steady development of Soviet fine art in all its forms on the basis of the consistent implementation of the principles socialist realism and the further development of the best progressive traditions of art of the peoples of the USSR, and, in particular, the Russian realistic school." This indicates the maturity of Soviet art pedagogy, which had all the data for further improving the methods of teaching fine arts. During this period, drawing began to be recognized as the basis of the foundations of fine art . Teaching it should begin as early as possible. As a rule, its beginning should precede the teaching of painting and sculpture. The system of teaching drawing must necessarily include “regular drawing from a posing nude model in a specially created environment for this purpose, not pursuing any other goals other than acquiring mastery in drawing", that is, specifically "academic" drawing. In order to streamline methodological work in schools in the 50s, the idea of ​​​​creating special textbooks on drawing arose. Previously, textbooks on drawing for secondary schools had not been published either in Russia or abroad . Since 1959, a network of art and graphic faculties has been created at pedagogical institutes.

N. Yu. Vergiles, N. N. Volkov, V. S. Kuzin, V. P. Zinchenko, E. I. Ignatiev and others devoted their works to the study of problems of perception in the process of visual activity. In these works, perception is defined as the creative ability to isolate an object from its environment, comprehend the most significant details, characteristic features subject, as well as the discovery of structural connections leading to the creation of a clear image.

. Russian school and art pedagogy from the 60s to the present (E. I. Shorokhov, T. Ya. Shpikalova, V. S. Shcherbakov, B. M. Nemensky, M. N. Sokolnikova, Yu. A Poluyanov, B.P. Yusov)

Russia at the end of the 19th and beginning of the 20th century was characterized by increased interest in methods of teaching drawing in both special and general educational institutions. Preysler - “Fundamental Rules, or quick guide to the art of drawing" was published in two languages: German and Russian. It outlines a specific system for teaching drawing. The book gave instructions to artists and teachers. Begins by explaining the purpose of drawing straight and curved lines, then geom. figures and bodies, rules for their use in practice. Geometry is the basis for teaching drawing. However, the use of geometric figures must be combined with the application of the rules and laws of perspective of plastic anatomy. In his book he provides many visual aids. Attaches great importance to linear drawing. In 1834, A.P. Sapozhnikov published “Drawing Course” - the first textbook for educational institutions compiled by a Russian artist. The drawing course began with an introduction to various lines, angles, and then geometric shapes. The value of Sapozhnikov’s method lay in the fact that it was based on drawing from life and analyzing its form. The new method proposed by Sapozhnikov found wide application; before the publication of his book, copying of the original reigned. I used the method of simplifying the form at the initial stage of drawing. The teacher must explain the student's mistakes verbally. G. A. Gippius publishes the book “Essays on the Theory of Drawing as a General Academic Subject.” All the advanced ideas of pedagogy were concentrated in it. The book is divided into two parts - theoretical and practical. In the book, he theoretically substantiates each position of the teaching methodology. The methodology should not be formulaic, but should be based on practical and scientific data. Chistyakov and his ideas about the relationship between the teacher and students, which consisted of knowing the student, his character and preparation, finding an approach to the student, and teaching him to look at nature correctly, had a great influence on the development of teaching methods.

Vladimir Sergeevich Kuzin - corresponding member of the Russian Academy of Education, doctor of pedagogy. sciences, professor. In his program, the leading place is given to drawing from life, that is, to teach you to see objects and phenomena as they exist. He is the leader of a group of authors of the state program in fine arts.

Boris Mikhailovich Nemensky - artist, teacher, laureate of the state prize, Corresponding Member of the Academy of Pedagogical Sciences. His technique is based on the child’s inner world, on his feelings, emotions, perceptions the surrounding world through the soul of a child. At the moment, some schools are using it program called “Fine Arts and Artistic Work.” Methods of teaching fine arts in educational institutions in It is currently developing very intensively. There are many interesting developments from such authors such as E. I. Kubyshkina, V. S. Kuzin, T. S. Komarova, B. M. Nemensky, E. E. Rozhkova, N. N. Rostovtsev, N. M. Sokolnikova, E. V. Shorokhov, A. S. Khvorostov, T. Ya. Shpikalova and others. They created educational, methodological and visual aids on drawing, painting, composition, folk and decorative arts. Textbooks published for the first time in many years in fine arts for primary and secondary schools.

. Prospects for art education and aesthetic education of children

Natalya Mikhailovna Sokolnikova is a modern teacher-methodologist who has combined in her works all the best in the methods of teaching fine arts that have appeared in recent years. She pays equal attention to drawing from life and DPI, and to the emotional development of students. Art education for schoolchildren is the process of children mastering a body of knowledge, skills, abilities, and the formation of worldviews in the field of art and artistic creativity. Artistic education of schoolchildren is the process of developing in children the ability to feel, understand, evaluate, love and enjoy art; art education and upbringing are inseparable from encouraging children to perform artistic and creative activities, to create aesthetic, including artistic, values. Aesthetic education in a comprehensive school is a purposeful process of forming a creatively active personality, capable of perceiving and appreciating the beautiful, perfect, harmonious and other aesthetic phenomena in life, nature, art, from the standpoint of an accessible understanding of the ideal, and living and creating “according to the laws of beauty.” The system of artistic and aesthetic education in a secondary school is a living, purposeful, organized process of artistic and aesthetic education, development, and upbringing of children based on a set of modern methodological principles, taking into account the age of students. The system of aesthetic education for primary school students is built taking into account the age-related psychological and pedagogical characteristics of children. Whether we are talking about the requirements for a moral and aesthetic ideal, taste, aesthetic judgments that should be characteristic of a primary school student, a teenager, a young man, or about the character, genres, criteria for assessing creative (including artistic and creative) activity, each time the optimal requirement and the solution to the problem must be correlated with the age capabilities of the child. Aesthetic education harmonizes and develops all the spiritual abilities of a person necessary in various fields of creativity. It is closely related to moral education, since beauty acts as a kind of regulator of human relationships. Thanks to beauty, a person is often intuitively drawn to goodness.

Aesthetic education, introducing people to the treasury of world culture and art - all this is only a necessary condition for achieving the main goal of aesthetic education - the formation of an integral personality, a creatively developed individuality, acting according to the laws of beauty.

Aesthetic education is carried out at all stages of age-related personal development. The sooner a person enters the sphere of targeted aesthetic influence, the more reason to hope for its effectiveness. . The experience gained through communication and activity forms in preschool children an elementary aesthetic attitude towards reality and art.

The system of aesthetic education is designed to teach you to see the beauty around you, in the surrounding reality. In order for this system to influence the child most effectively and achieve its goal, B. M. Nemensky highlighted the following feature: “The system of aesthetic education must, first of all, be unified, uniting all subjects, all extracurricular activities, all social life schoolchild, where each subject, each type of activity has its own clear task in the formation of the aesthetic culture and personality of the schoolchild." But every system has a core, a foundation on which it rests. We can consider art as such a basis in the system of aesthetic education: music, architecture, sculpture, painting, dance, cinema, theater and other types of artistic creativity. The reason for this was given to us by Plato and Hegel. Based on their views, it became an axiom that art is the main content of aesthetics as a science, and that beauty is the main aesthetic phenomenon Art contains great potential for personal development.

Beauty brings pleasure and pleasure, stimulates work activity, and makes meeting people pleasant. The ugly is repulsive. The tragic teaches empathy. Comic helps to fight shortcomings.

One of the true human needs is the need for beauty as a person’s natural desire for harmony, integrity, balance and order. The fact that this is precisely a person’s vital need is evidenced by the results of research by anthropologists, who have established that at a certain stage of development of the human brain, he simply needed aesthetic impressions and experiences that contributed to the formation of a person’s holistic perception of both the world and himself. Knowing the educational, educational, developmental effect of aesthetic impressions, sages from ancient times advised to surround the growth of a child with beauty and goodness, the growth of a young man with beauty and physical development, the growth of youth with beauty and learning. Beauty should be present at all stages of personality development, contributing to its harmonious development and improvement. And indeed, beauty, along with truth and goodness, invariably appears as part of the original triad of values, representing the fundamental foundations of existence.

The same initial and true is the human need for creativity, self-expression, affirmation of oneself in the world by introducing into it something new created by him. It is the creative position that provides a person with the stability of his existence, because it makes it possible to adequately and timely respond to all new situations in a constantly changing world. Creativity is a free activity to which a person cannot be forced: he can create only due to the internal need for creativity, internal motivation, which is a more effective factor than any external pressure or coercion.

Here it is discovered that many of the true needs of man are either of an aesthetic nature or include a necessary aesthetic component. Indeed, in terms of returning a person to his true nature, to his true being, to the awareness of his real needs, not the least place belongs to aesthetic culture and aesthetic education and aesthetic education leading to it (although not necessarily ensuring it). The aesthetic attitude towards the world has always existed as an all-encompassing, universal and purely human behavior, and aesthetic assessment is the most holistic, as if completing the perception of an object in the fullness of its givenness and connection with the environment. .

The role of aesthetic education in the formation of a creative position is that it not only contributes to the development of feelings, the formation of human sensuality and its enrichment, but also enlightens, substantiates - rationally and emotionally - the need for a creative attitude towards the world. It is aesthetic education that shows the role of aesthetic feelings in the formation of a picture of the world and develops these feelings.

. Methodology as a science. Methods and techniques for teaching fine arts in secondary schools

The methodology is a combination of accumulated experience, new approaches, and a search for means of spiritual and emotional development of students, and the teacher himself. And then the teaching methods are most likely a system of unified activities of the teacher and students to master a certain part of the content of the program. It is implemented by techniques, specific actions of the teacher and student, and various forms of their communication.

By teaching method we mean the way a teacher works with students, with the help of which a better assimilation of educational material is achieved and academic performance increases. The choice of teaching methods depends on the educational goals, as well as on the age of the students. The teaching method (from the ancient Greek way) is the process of interaction between teachers and students, as a result of which the transfer and assimilation of knowledge, skills and abilities provided for by the content of training occurs. A teaching technique (teaching technique) is a short-term interaction between a teacher and students, aimed at transferring and assimilating specific knowledge, skills, abilities. According to the established tradition in domestic pedagogy, teaching METHODS are divided into three groups: - Methods of organizing and implementing educational and cognitive activities: 1. Verbal, visual, practical (According to the source of presentation of educational material). 2. Reproductive explanatory and illustrative, search, research, problem, etc. (according to the nature of educational and cognitive activity). 3. Inductive and deductive (according to the logic of presentation and perception of educational material); - Methods of monitoring the effectiveness of educational and cognitive activity: Oral, written tests and self-tests of the effectiveness of mastering knowledge, skills and abilities; - Methods of stimulating educational and cognitive activity: Certain incentives in formation of motivation, sense of responsibility, obligations, interests in mastering knowledge, skills and abilities. In teaching practice, there are other approaches to determining teaching methods that are based on the degree of awareness of the perception of educational material: passive, active, interactive, heuristic and others. These definitions require further clarification, since the learning process cannot be passive and is not always a discovery (eureka) for students. The passive method is a form of interaction between students and the teacher, in which the teacher is the main actor and manager of the lesson, and students act as passive listeners, subject to the teacher’s directives. Communication between the teacher and students in passive lessons is carried out through surveys, independent work, tests, tests, etc. From the point of view of modern pedagogical technologies and the effectiveness of students’ assimilation of educational material, the passive method is considered the most ineffective, but despite this, it also has some pros. This is a relatively easy preparation for the lesson on the part of the teacher and an opportunity to present relatively large quantity educational material within the limited time frame of the lesson. Given these advantages, many teachers prefer the passive method to other methods. It must be said that in some cases this approach works successfully in the hands of an experienced teacher, especially if students have clear goals aimed at thoroughly studying the subject. Lecture is the most common type of passive lesson. This type of lesson is widespread in universities, where adults, fully formed people, who have clear goals to deeply study the subject, study. The active method is a form of interaction between students and the teacher, in which the teacher and students interact with each other during the lesson and students here are not passive listeners, but active participants in the lesson. If in a passive lesson the main character and manager of the lesson was the teacher, then here the teacher and students are on equal terms. If passive methods presupposed an authoritarian style of interaction, then active ones presuppose a more democratic style. Many equate active and interactive methods; however, despite their commonality, they have differences. Interactive methods can be considered as the most modern form of active methods. Interactive method (Interactive (“Inter” is mutual, “act” is to act) - means to interact, to be in a conversation mode, a dialogue with someone. In other words, in contrast to active methods , interactive are focused on broader interaction of students not only with the teacher, but also with each other and on the dominance of student activity in the learning process. The teacher’s place in interactive lessons comes down to directing students’ activities to achieve the goals of the lesson. The teacher also develops a lesson plan (usually, these are interactive exercises and tasks during which the student learns the material). Consequently, the main components of interactive lessons are interactive exercises and tasks that are performed by students. An important difference between interactive exercises and tasks from ordinary ones is that when completing them, students not only They consolidate already learned material as much as they learn new ones.

. Goals and objectives of teaching fine arts in secondary schools

The development of a creative personality and its artistic abilities is directly related to the purpose and objectives of teaching the subject of art.

Its main GOAL is familiarization with spiritual culture as a way of transmitting universal human values ​​from generation to generation, the perception and reproduction of which in one’s activities leads to creative and moral self-development of a person, preserving the integrity of his inner world. Thus, by joining spiritual culture, a person simultaneously joins his natural essence, developing his basic - universal - abilities: For holistic, imaginative thinking; For empathy with the world around him; For creative activity.

The realization of this goal is carried out by the aesthetic education of a person through the means of art and artistic pedagogy. They are based on art education and artistic activity. Only in their totality can we imagine the implementation of the goals of aesthetic education. These are two different ways of developing human consciousness, not replacing, but complementing each other.

The criteria for assessing a person’s creative development in the field of aesthetic education are revealed in accordance with the tasks of forming a harmoniously developed person. There are three interconnected directions in it: A) preserving the moral integrity of the individual; B) developing its creative potential; C) ensuring the harmonious correlation of its social and unique features.

All this is naturally realized in human artistic activity.

In his cognitive and creative activity, a child learns, first of all, its meaning, which is associated with an emotional and evaluative attitude towards life. Art is a means of accumulating and concentrating the life experience of humanity, which is associated with the tasks of developing the moral and creative potential of people. Therefore, one of the main goals of art is to rely on the universal powers of man to develop his moral ideal, creative attitudes, aesthetic emotions, and feelings.

The art program at school provides for 4 main types of work - drawing from life, thematic drawing, decorative drawing, conversations about art, which are closely related to each other and complement each other in solving the problems set by the program.

The objectives of art classes include: Developing students’ visual perception. Develop observation abilities, establish similarities and differences, classify objects by shape and texture. To develop aesthetic and artistic abilities, to teach drawing from life, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. Develop mental and abstract thinking.

The leading type of drawing is rice. cat from nature leads to the overall development of a person - develops imagination, mental, spatial and abstract thinking, eye, memory.

School art course. art aims to:

To prepare comprehensively developed, educated members of society,

Raise children aesthetically and develop their artistic taste.

Help children learn about the world around them, development. observation, to teach to think logically, to realize what is seen.

To teach how to use drawing in work and social activities

Give students knowledge of the basics of realistic drawing. To instill skills and abilities in fine art, to familiarize with the basic technical techniques of work.

To develop the creative and aesthetic abilities of students, to develop spatial thinking, imaginative representation and imagination.

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

The subject of art teaching methods is closely related to special and psychological-pedagogical disciplines. The methodology as a subject of study examines the features of the teacher’s work with students. Methodology is understood as a set of rational methods of teaching and upbringing. This is a special department of pedagogy that studies the rules and laws of constructing the educational process. The methodology can be general, it considers teaching methods inherent in all subjects and specific - methods and techniques used in teaching any one subject.

The methodology of teaching art as a science theoretically generalizes practical experience, offers teaching methods that have already proven themselves and give the best results. The purpose of the course is to form the foundations and professional pedagogical consciousness of an art teacher. The objective of the course is knowledge of history, theory, scientific research methods in the field of art teaching methods, the acquisition of intellectual and practical skills to solve the problems of art teaching, the creation of the foundations for the subsequent formation of a creative approach to the activities of an art teacher, the formation of a sustainable interest in the profession of an art teacher. The teaching method refers to the way the teacher works with students in which better assimilation of educational material is achieved and academic performance increases.

The teaching method consists of individual teaching methods: - by the source of knowledge acquisition (visual, practical, verbal, game) - by the method of acquiring knowledge (reproductive, information-receptive, research, heuristic) - by the nature of the activity (method of organizing and implementing educational and cognitive activity, method of control and self-control, method of stimulation and motivation of learning) - by type of lesson

Fine arts classes for grades 1-9. The purpose of the lessons is to teach drawing from life, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. The main type of drawing in fine art is drawing from life - it develops mental and abstract thinking, is a method of visual learning, teaches one to think, purposefully make observations, awakens interest in analyzing nature, thereby preparing the student for further educational work.

Thematic drawing - depicting phenomena of the surrounding world and illustrating literary works, play a big role in the development of creative imagination. Most drawings on the topic are accompanied by sketches from life. Develops imaginative thinking, imagination, independence in work, perseverance.

DPI is closely related to drawing from life. At DPI lessons, children get acquainted with the basics of artistic design and study the ornamental creativity of peoples. Decorative drawing develops aesthetic and artistic taste and develops creative abilities. Specific feature DPI is a decorative processing of forms depicted from life. Decorative design is carried out on the basis of certain rules and laws, compliance, symmetry, and color combinations.

Conversation about art In these lessons, children get acquainted with the life and work of outstanding masters, develop aesthetic perception, artistic taste, and gain basic knowledge of foreign and Russian art

) B. M. Nemensky "Fine arts and artistic work" (grades 1-9) Goal: the formation of an artistic culture among students, as an integral part of the spiritual culture created by many generations.

Contents and media: introduction to art culture, including the study of the main types of art. arts: (painting, graphics, sculpture), DPI (folk art, folk arts and crafts, modern decorative art). game tasks are introduced on the topic, connections with music, history, and labor. In order to experience creative communication, collective tasks are introduced into the program. Practice presupposes a high level of theoretical training of the teacher. Nemensky B. M. “Fine arts and artistic work, grades 1-9. » the tasks set by him are aimed at aesthetic development students, increasing interest in fine art, developing imagination and observation, realizing the creative abilities of students, are aimed at studying traditional Russian culture. It is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative art, architecture, design, entertainment and screen arts. Includes three types of thin. activities: constructive (architecture, design), visual (painting, graphics, sculpture), decorative arts. The semantic core of the program is the role of art in the life of society. There is a connection with music, literature, history, and labor. For the purpose of experiment. Communication includes group activities. 1st grade “You depict, decorate, build” is a playful, figurative form of inclusion. 2nd grade - “You and art” 3rd grade “Art around us” introduction to the culture of your people. 4th grade - “Every nation is an artist.” Design of the program: The first stage is primary school, the pedestal of all knowledge, the second stage is the connection of life with dates and genres of art. The third stage is world art.

) V. S. Kuzin "Fine Arts" (grades 1-9)

Goal: development of art in children. abilities, good taste, creative imagination, spatial thinking, aesthetic feelings.

Contents and media: drawing from life, from memory and imagination of objects and phenomena of the surrounding world, creating graphic compositions on topics, conversations about art. art. The leading place is drawing from life. Kuzin and Kubyshkina - developed a textbook on fine arts, revised in accordance with modern general education standards and the fine arts program for a four-year elementary school. The first part of the textbook is called “Learning to Draw” - it is devoted to the practical side of teaching schoolchildren, the basics of fine art, drawing from life, thematic drawing, painting, composition, modeling, decorative work, appliqué. The second part “The Magic World” - from it schoolchildren will learn about the types and genres of fine art, about outstanding Russian artists. The textbooks are accompanied by workbooks for grades 1-4, as well as a teacher's manual, which provides brief recommendations on how to conduct a lesson.

Implementation is available to specialists of various professional levels. preparation.

) T. Ya. Shpikalova: “Fine arts and artistic work” (grades 1-6)

Goal: personal development based on a holistic aesthetic culture.

Contents and media: the program is integrated on the basis of art. art and artistic labor. The content is built on the basis of value concepts: person, family, home, people, history, culture, art. It represents an integrated approach to mastering artistic information based on students’ knowledge in the field of humanities and natural sciences. Aimed at mastering the basics of artistic representation of folk art and creative arts, as well as artistic and design activities. To implement this program, it is desirable to have a specialization in decorative and applied areas. Shpikalova T. Ya. - the main goal of the program is to contribute to the education of a highly artistically educated personality of the schoolchild, the formation of the foundations of a holistic aesthetic culture through the development of historical memory, the creative abilities of the child. The team of authors of the program combines fine arts and artistic work, the art of words and songs, based on folk art, in an integrated course. The structure of the program is not usual; the content is revealed by type of folk art. The first block is devoted to folk arts and crafts, the second - to oral folk art. People's DPI includes the following sections of the training course: basics of artistic representation; ornament in the art of the peoples of the world, structure and types; Russian folk ornament, creative study in the process of depiction; artistic work based on familiarity with folk and creative arts. Oral folk art includes the following sections: educational material for listening comprehension; educational material for independent reading; folklore holidays. All sections of the program include an approximate list of artistic and didactic games, exercises and creative works. The teacher is provided with great opportunities for pedagogical and artistic creativity when preparing and conducting such forms of lesson work as general lessons, holiday lessons, as forms of collective work, lessons in form creation and experimentation. The game is considered as one of the leading methodological techniques in organizing the creative work of junior schoolchildren in the classroom. SOKOLNIKOVA The content of the “Fine Arts” program corresponds to the following goals: - introducing schoolchildren to the world of fine arts, developing their creativity and spiritual culture; - mastering primary knowledge about the world of plastic arts: fine arts, arts and crafts, architecture, design; about the forms of their existence in the child’s everyday environment; - education of emotional responsiveness and culture of perception of works of professional and folk fine art; moral and aesthetic feelings: love for native nature, one’s people, the Motherland, respect for its traditions, heroic past, multinational culture.

Basic didactic principles of the methodology of teaching fine arts at school (To reveal the essence of the principles of activity and consciousness, the principle of accessibility and strength, the principles of educational teaching, the principle of scientificity, the principle of systematicity and consistency in teaching the fine arts)

Methodology is a set of teaching and educational techniques. Teaching techniques-moments, from cat. a teaching method is emerging. A training system is formed from a set of techniques and teaching methods united by a common direction. Properly organized, methodologically competent use of didactic principles and teaching methods in art lessons. art contributes to increased effectiveness of teaching and education. process: Increases activity, interest, Development of love for art, Develops reproduction. , attention, imagination, thinking, memory, speech, etc. Having mastered it. knowledge, outgrowing in skills and abilities. Forms the ability to apply knowledge in practice.

Important didactic principles in connection with teaching methods. basics of art art at school:

scientific principle: connection between science and academic subject

principle of visibility: supported by visual perception.

The principle of student consciousness and activity

The principle of connection between theory and practice

The principle of the strength of knowledge acquisition

The principle of systematicity and consistency

The principle of educational training

Forms a moral, legal, aesthetic, physical personality. culture and life, communication. Nurtures intellectual development and the individual. Cognitive abilities taking into account the interests of students. The principle is systematic. and consequent learning: continuity and connection of new material with what has been learned, expansion and deepening of knowledge. New student the material recalls what was previously perceived, clarifies it and complements it, requires a strict rule not to move on to new educational material until the previous one has been mastered and consolidated

The essence of the principle of consciousness and activity is the skillful use of various techniques that help to stimulate the need and interest in acquiring knowledge, giving the educational process a problematic character. For conscious and active mastery of knowledge it is necessary: ​​to accustom schoolchildren to pose questions, both in front of the teacher and for independent answering and resolution; to develop in students an independent approach to the material being studied, to deeply think through the theoretical conclusions and concepts, ideological and moral-aesthetic ideas that are contained in its content. This problem cannot be solved if the teacher fails to arouse and maintain the cognitive activity and consciousness of students in the learning process.

The essence of the principle of systematicity and consistency is to ensure that students consistently master a certain system of knowledge in different fields of science and systematically undergo schooling. Ensuring systematic and consistent learning requires students to deeply understand the logic and system in the content of the knowledge they are learning, as well as systematic work to repeat and generalize the material being studied. One of the common reasons for student failure is their lack of a system in their academic work, their inability to show persistence and diligence in their studies.

The principle of strength reflects that feature of learning, according to which mastery of knowledge, abilities, skills, ideological and moral-aesthetic ideas is achieved only when they, on the one hand, are thoroughly comprehended, and on the other hand, are well mastered and retained in memory for a long time . The strength of learning is achieved, first of all, when students complete a full cycle of educational and cognitive actions during the learning process: primary perception and comprehension of the material being studied, its subsequent deeper comprehension, doing some work to memorize it, apply the acquired knowledge in practice, and on their repetition and systematization. For the sound assimilation of knowledge, systematic testing and assessment of students' knowledge is of great importance.

The essence of the scientific principle is that the content of education in school should be scientific and have a worldview orientation. To implement it, the teacher must: deeply and conclusively reveal each scientific position of the material being studied, avoiding errors, inaccuracies and mechanical memorization of theoretical conclusions and generalizations by students; show the significance of the material being studied for understanding modern socio-political events and their correspondence to the interests and aspirations of the people.

The essence of the principle of accessibility lies in the need to take into account the age and individual characteristics of students in the educational process and the inadmissibility of its excessive complexity and overload, in which mastery of the material under study may be overwhelming.

Making learning accessible means: correctly, taking into account cognitive age capabilities students to determine its content, the amount of knowledge, practical skills and abilities that schoolchildren of each class need to master in each academic subject. Correctly determine the degree of theoretical complexity and depth of study of program material. Correctly determine the amount of study time allocated for studying each academic subject, taking into account its importance and complexity and ensuring its deep and lasting assimilation. It is necessary to improve curricula and textbooks. The teacher must use vivid factual material in the teaching process, present it compactly and intelligibly, connect it with life and skillfully lead students to theoretical conclusions and generalizations. Take into account the individual characteristics of students’ mental activity and memory, as well as the level of their preparation and development.

The principle of connecting theory with practice provides that the learning process encourages students to use the acquired knowledge in solving assigned problems, analyze and transform the surrounding reality, developing their own views. For this purpose, analysis of examples and situations from real life is used. One of the directions for implementing this principle is the active involvement of students in socially useful activities at school and beyond.

. The principle of visibility in teaching fine arts. Visual aids for fine arts lessons. Types of visual aids. Requirements for visual aids

The essence of the principle of visibility is determined by a number of factors: the visibility of learning follows from the fact that it acts as a means for students to understand the world around them, and therefore this process occurs more successfully if it is based on direct observation and study of objects, phenomena or events.

The cognitive process requires the inclusion of various organs of perception in the acquisition of knowledge. According to Ushinsky, visual learning increases students’ attention and promotes a deeper assimilation of knowledge.

The clarity of learning is based on the characteristics of children’s thinking, which develops from the concrete to the abstract. visibility increases students' interest in knowledge and makes the learning process easier. Many complex theoretical concepts, with the skillful use of visualization, become accessible and understandable to students. Visual aids include: real objects and phenomena in their natural form, car models, dummies, illustrative aids (paintings, drawings, photographs), graphic aids (diagrams, graphs, diagrams, tables), various technical means (educational films, software training, computers).

Functions of visibility: helps to recreate the form, essence of a phenomenon, its structure, connections, interactions to confirm theoretical positions;

helps to bring into a state of activity all analyzers and the associated mental processes of sensation, perception, and representation, as a result of which a rich empirical basis arises for the generalizing-analytical mental activity of children and teachers;

forms visual and auditory culture in students;

gives the teacher feedback: based on the questions asked, students can judge their mastery of the material, the movement of students’ thoughts towards understanding the essence of the phenomenon.

Types of educational visualization

Natural material models (real objects, dummies, geometric bodies, mock-ups of objects, photographs, etc.)

Conventional graphic images (drawings, sketches, diagrams, graphs, geographical maps, plans, diagrams, etc.)

Sign models, mathematical, chemical formulas and equations and other interpreted models

Dynamic visual models (cinema and television films, transparencies, cartoons, etc.)

22. The lesson as the main form of organizing the educational process in fine arts at school. Types of lessons. Structure of an art lesson. Educational objectives of the lesson. Modern requirements for preparing and conducting fine arts lessons

Cla ?ssno-uro ?personal system ?ma study ? niya - the predominant and widespread organization of the learning process in modern education, in which, for training sessions, students of the same age are grouped into small groups (classes) that retain their composition for a set period of time (usually an academic year), and all Students work on mastering the same material. In this case, the main form of training is the lesson. A lesson is a lesson taught by a teacher with a constant composition of students of the same level of training, united in a class subgroup or team. Lessons alternate, according to a fixed schedule, and include frontal, team and individual work of schoolchildren using different teaching methods. The duration of a lesson in workshops is two academic hours (45 minutes each). The origins of the class-lesson form of education can be found in ancient civilizations and in the era of antiquity, for example, agoge - the Spartan education system, where the class form was represented by “angels” - squads. Class-lesson form education, based on the curriculum and educational organization "one class - one year", arose in the early 16th century in Europe. For example, the city school of the reformer Johann Agricola (Eisleben curriculum) (1527), a system of organization developed by the humanist and educator Philip Melanchthon German schools and universities (Saxon Charter) (1528), Strasbourg Gymnasium of Johann Sturm (1537), Württemberg curriculum of the Swabian reformer John Brenz (1559), etc. Czech educator Jan Amos Comenius, summarizing the experience of progressive schools, colleges and universities in Europe , developed a class-lesson-subject system contained in his theory of universal universal education and upbringing.The class-lesson system currently refers to traditional education. Having fulfilled its historical mission, this system begins to lose effectiveness in modern sociocultural and economic conditions. The main disadvantages of the class-lesson-subject system should be recognized: the impossibility of taking into account the many social factors affecting the child, the impossibility of the child’s creative self-development, the inability to absorb information and technological innovations, the inability to keep up with the pace of changes in society, and others. The most decisive modernization of the classroom and lesson system (Brown, Trump, Parkhurst and others) was based on a different selection of content. The most radical rejection of the subject system, carried out by reformers (Kilpatrick, Linke, Dekrol, etc. ), came down to a different differentiation of content. Thus, they did not solve the problem in essence and, at best, improved the classroom-lesson-subject system in certain socio-political and economic conditions. Types and structure of lessons. Lesson structure - a set of lesson elements that ensures its integrity and safety of the main characteristics of the lesson when various options. Structural elements of the lesson. I. Organization of the beginning of the lesson (2 minutes). Interest children, attract their attention to the lesson, communicate the topic and purpose of the lesson. II. Checking homework (3 minutes). the level of acquired material from the previous topic and preparation for the perception of new information. III. Main part. Learning new material (20 minutes). Scientific, exciting, accessible presentation of new material with the involvement of students. IV. Primary consolidation of knowledge (5 minutes). You can use special tasks after explaining new material. Conduct a conversation to develop skills and apply knowledge. V. Summing up the lesson (2 minutes). Find out what the children learned in the lesson, what new things they learned and justify the assessment of students’ knowledge. VI. Homework information (3 minutes). Report homework and explain how to complete it. Types. The most common classification used in practice was introduced by B. P. Esipov and identified the following types of lessons: 1. Learning new material. 2. Lesson to consolidate knowledge and develop skills. 3. Lesson of generalization and systematization of knowledge. 4. Lesson of control and correction of students’ knowledge, skills and abilities. 5. Combined or mixed lesson. Type 1: Learning new material. Type of lesson: - lecture, - lesson with elements of conversation, - lecture with elements of presentation, lesson - conference, excursion, research work. The purpose of the lesson: learning new knowledge and initially consolidating it. Type 2: Lesson to consolidate knowledge and develop skills. Type of lesson: - workshop, - excursion - laboratory work - business game, lesson discussion. Purpose of the lesson: Secondary consolidation of acquired knowledge, development of skills and abilities for their application. Type 3: Lesson of generalization and systematization of knowledge. Type of lesson: - seminars, conference, generalized lesson, interview lesson, discussion lesson, debate. Purpose of the lesson: Generalization of student knowledge into the system. Testing and assessing students' knowledge. This type of lesson is used when reviewing large sections of the material studied. Type 4: Lesson of control and correction of students' knowledge, skills and abilities. Type of lesson: exam - test, Purpose of the lesson: To determine the level of knowledge, skills and abilities of students and to identify the quality of knowledge of students, reflection of their own activities. Type 5: Combined or mixed lesson. Type of lesson: - practical - conference - seminar - test - lecture, Purpose of the lesson: Developing the skills of independent application of knowledge in a complex and transferring them to new conditions. Lesson structure. I. Organization of the beginning of the lesson (2). To interest, attract attention to the lesson, communicate the topic and purpose of the lesson. II. Check to s (3). A certain level of mastered material from the previous topic and preparation of schoolchildren to perceive new information (depending on the form of training, it may not be present). III. Main part. Learning new material (20). Scientific, exciting, accessible presentation of new material with the involvement of students. IV. Primary consolidation of knowledge (5). You can use special tasks after explaining new material. Conduct a conversation to develop skills and apply knowledge. V. Summing up the lesson (2 minutes). Find out what the children learned in the lesson, what new things they learned and justify the assessment of students’ knowledge. VI. Homework information (3 minutes). Report homework and explain how to complete it.

. Types of visual activities and their significance in the mental, moral, aesthetic, and physical development of schoolchildren. (Drawing, modeling, applique, design)

Main activities:

Image on a plane and in volume (from nature, from memory and from imagination);

decorative and constructive work;

applique;

volumetric-spatial modeling;

design and construction activities;

artistic photography and video filming;

perception of reality and works of art;

discussion of the work of comrades, the results of collective creativity and individual work in class;

study of artistic heritage;

selection of illustrative material for the topics being studied;

listening to musical and literary works (folk, classical, modern).

Mental education is focused on the development of a person’s intellectual abilities, interest in understanding the world around him and himself.

It assumes:

development of willpower, memory and thinking as the main conditions of cognitive and educational processes;

formation of a culture of educational and intellectual work;

stimulating interest in working with books and new information technologies;

as well as the development of personal qualities - independence, breadth of outlook, ability to be creative.

The tasks of mental education are solved by means of training and education, special psychological trainings and exercises, conversations about scientists and statesmen different countries, quizzes and competitions, involvement in the process of creative search, research and experimentation.

Ethics constitutes the theoretical basis of moral education.

The main tasks of ethical education are:

accumulation of moral experience and knowledge about the rules of social behavior (in the family, on the street, at school and other public places);

reasonable use of free time and development of moral qualities of the individual, such as an attentive and caring attitude towards people; honesty, tolerance, modesty and sensitivity; organization, discipline and responsibility, a sense of duty and honor, respect for human dignity, hard work and work culture, respect for the national property.

In the process of moral education, such methods as persuasion and personal example, advice, wishes and approving feedback, positive assessment of actions and deeds, public recognition of a person’s achievements and merits are widely used. It is also advisable to conduct ethical conversations and debates using examples of works of art and practical situations. At the same time, the spectrum of moral education involves both public censure and the possibility of disciplinary and deferred punishment.

The goal of aesthetic education is the development of an aesthetic attitude to reality. Aesthetic attitude presupposes the ability to emotionally perceive beauty. It can manifest itself not only in relation to nature or a work of art. For example, I. Kant believed that by contemplating a work of art created by the hand of human genius, we become familiar with the “beautiful”. However, we perceive only a raging ocean or a volcanic eruption as “sublime”, which man cannot create. (Kant I. Critique of the ability to judge. M. 1994.) Thanks to the ability to perceive the beautiful, a person is obliged to bring the aesthetic into personal life and the lives of others, in everyday life, in professional activity and social landscape. At the same time, aesthetic education should protect us from drifting into “pure aestheticism.” In the process of aesthetic education, artistic and literary works are used: music, art, cinema, theater, folklore. This process involves participation in artistic, musical, literary creativity, organizing lectures, conversations, meetings and concert evenings with artists and musicians, visiting museums and art exhibitions, and studying the architecture of the city. The aesthetic organization of work, the attractive design of classrooms, auditoriums and educational institutions, and the artistic taste manifested in the style of clothing of pupils, students and teachers have educational significance. This also applies to the social landscape of everyday life. Examples include cleanliness of entrances, landscaping of streets, original design of shops and offices.

The main objectives of physical education are: proper physical development, training of motor skills and the vestibular apparatus, various procedures for hardening the body, as well as developing willpower and character, aimed at increasing a person’s performance. The organization of physical education is carried out through physical exercises at home, at school, at university, and in sports sections. It presupposes control over the regime of educational activities, work and rest (gymnastics and outdoor games, hiking and sports competitions) and medical prevention of diseases of the younger generation. For physical education healthy person It is extremely important to adhere to the elements of a daily routine: long sleep, high-calorie nutrition, a thoughtful combination of various types of activities.

. Patterns of manifestation of creative abilities of schoolchildren in fine arts lessons. Fundamentals of research work in the field of children's visual activities.

Students' creativity is understood as an independent solution to new tasks assigned to them. Drawing classes provide all the prerequisites for the development of creativity. Its manifestation can be associated not only with the solution of a complex image problem, as in a thematic composition, but also with the simplest monosyllabic problem, solved in a sketch from life, from memory and imagination. Leading a child to independently solve a new problem and to discoveries is my job.

Systematic work in the fine arts develops such personality qualities as spatial thinking, an acute sense of color, vigilance of the eye, and forms the qualities of a person’s intellect, which are ultimately important not only for the work of creating a drawing, sketch or model of an object, but also for any specialty , which the student will later choose for himself. These qualities include, first of all, imaginative representation and logical thinking; they are the conditions for creativity in any human activity. These qualities are already manifested in children of primary school age in their studies in the fine arts, which become a need for a developing personality. To a greater extent, these activities contribute to the manifestation of the student’s individuality, which creates especially favorable conditions for the development of creative abilities.

When supervising visual activities, I need to remember that this is not an ordinary educational lesson in which they simply learn something, but an artistic and creative activity that requires children to have a positive emotional attitude, the desire to create an image, a picture, applying for This is mental and physical effort. Without this, success is impossible.

I attach great importance to communication with nature in teaching and raising children. It is nature in all its beauty that inspires people to create: to depict, decorate, build.

Nature has endowed children with the ability to vividly, emotionally empathize with new things and perceive the world holistically. Unlike adults, children do not have the tools to embody what they feel. This complex ideological and emotional content of an object initially lives only in the child’s soul; it is “invisible” and does not have a ready-made external appearance. It must be imagined, that is, given the appropriate imagery and form, in which the plan will become visible, tangible, and accessible to other people. To do this, I need to enrich the arsenal of ways for children to express themselves; I need to give the child the opportunity to explore the world and manipulate it.

Sometimes you come across the opinion that a child works creatively when the teacher gives him complete freedom in drawing on topics: choosing a topic, moment, form of image. The wider this choice, the more favorable conditions are created for the manifestation of his initiative. For example, when working on an illustration, a fairy tale is indicated, from which he can choose any moment. Or even broader: he can choose any fairy tale. However, in these cases there is no specific task that should stimulate the child’s activity in searching for visual means in solving the answer to the visual task assigned to him. In other words, the task given to him is so broad and ambiguous that any image can mean that the task has been completed. Experience shows that in these cases children choose the path of least resistance. They depict what they saw in the drawings of their comrades, in book illustrations, or what the teacher tells them with a drawing on the board. But such a drawing does not require much activity, willpower, memory tension or other components of a genuine search.

This means that not all forms of teaching develop children's creative abilities. The unity of educational and creative stimulation must be achieved through tasks that introduce students to elementary concepts and ideas about reality and the features of images on a plane, through the development of various skills to master the basics of realistic images. I include various elementary exercises among such tasks. They can be caused by different educational tasks in working from life, from memory and from imagination, in decorative work. Along with short-term, simple exercises-studies, I also include more complex complex tasks, where several problems are solved simultaneously. On the other hand, it is necessary to narrow and specify thematic tasks, that is, I set specific visual tasks for the children, which they must solve independently. Under these conditions, both lines (learning literacy and developing creativity) are successfully implemented. The child’s initiative and creative search must take place in all tasks.

I believe that an important condition for the development of children’s creative imagination is their use of a variety of materials and techniques, as well as a change in types of visual activities.

The most effective structure of learning content is variable, since it allows the use of a differentiated approach to students, allows students to realize their skills in accordance with their own individual abilities.

Mastering as many different techniques as possible allows you to enrich and develop the child’s inner world, to show creative imagination - the ability to create a sensual image that reveals the inner content.

It is necessary to awaken a child’s personal interest in art. Tasks that require the expression of one’s own sense of attitude, mood, and intention help me with this.

Creative tasks are open-ended and do not have a correct answer. There are as many answers as there are children. My role is not only to understand and accept a variety of decisions, but also to show children the validity of these differences.

The use of computer technology allows us to develop interest in fine arts in a new way. To achieve the best results in learning and developing creative abilities, computer technologies are indispensable, because they have greater capabilities and allow you to get maximum results at a minimum cost.

Using a computer in fine arts lessons allows you to actively develop the creative and cognitive abilities of each student; creates an emotional mood, this in turn has a positive effect on the development of artistic creativity.

All interesting findings on the development of children's imagination are systematized for the organization of subsequent collective and personal exhibitions of children's works.

. Teacher as organizer and leader of the educational process in fine arts

Art teacher develops aesthetic taste, artistic knowledge and skills, fosters a desire for knowledge and perfection in order to make everything around us better and more beautiful. The teacher sets educational tasks for the student, organizes his observations in the process of constructing an image according to a certain system, teaches the analysis of nature in the process of constructing an image, indicates the path to the fastest assimilation of educational material, teaches analysis, directs attention to the most important features of the structure, and closely monitors the work of the student’s thoughts , constantly guiding and supporting her. without losing sight of his work. From the first grade, it lays the foundations of knowledge and skills for realistic depiction in students, and moves them away from naive and primitive drawing.

After the explanation, the teacher walks around the class and observes the children’s work. Having noticed an error, he draws the attention of a student, or several students, to it and explains the reason for the error.

When presenting educational material, it is necessary for all students to understand the topic, to hold students’ attention, skillfully presenting the topic of the lesson, and complicating the tasks over time. When teaching drawing from life, the teacher pays attention to the issues of observation, perception and analysis of nature, illustrates the explanations with drawings on the chalkboard or teaching aids. Pedagogical drawing activates work and increases interest in art. You can use the method: pre-prepare the chalkboard for the lesson by marking with dots the dimensions and proportions of the future image, and, already during the lesson, quickly reproduce the drawing using these guidelines.

Clear lesson planning ensures the distribution of educational material over time. total academic year, the intensity of the lessons is determined by the amount of educational material. Such a system makes it possible to effectively use study time and clearly plan work according to the program for the whole year. During the lesson, the teacher gives the necessary concepts, reveals the sequence of presentation of the educational material, methods of using visual aids, and in the lesson notes it is necessary to outline the methodology of working with the class in as much detail as possible.

. Planning and organization of educational work in fine arts for the academic year and quarter. Illustrated calendar-thematic lesson plan for fine arts

The main functions of a fine arts teacher at school: educational, educational and organizational.

The success of any business depends on its organization. Organization of the educational process means planning all the material of a subject from lesson to year and all years of study. To achieve systematicity, consistency and acceptability of knowledge, skills and abilities, you need to plan work with children by year. For this purpose, they make a thematic plan for the year (another name is a calendar-thematic plan).

Thematic plan forms:

the report form is a table with sections: class, quarter, lesson number, lesson topic, practical task, materials for completing the task, note;

the illustrated form is a mosaic of drawings arranged in a logical system (see Figure 1), thanks to the illustrations that reveal the topic of the lesson, the image materials, the level of difficulty of the task, making the thematic plan visual;

the combined form is a system of cards (see Figure 2), which contain not only general information about the planned lesson, which is required for thematic planning, but part of the lesson planning information (lesson equipment, lesson plan, methods and techniques of teaching and education) .

Requirements for the thematic plan in fine arts:

Moral orientation of the content of classes.

Compliance of the planned material with the program.

Availability of the planned material to the age of the children.

Consistent increase in the complexity of educational tasks, acceptability of lesson material.

The presence of interdisciplinary and interlesson connections (block-thematic planning principle).

Compliance with the natural and social calendar.

When drawing up a thematic plan, you must consider the following:

) number of lessons per year - 35;

) number of lessons in quarters: in the 1st and 2nd quarters - 8 lessons each, in the 3rd quarter - 12 lessons, in the 4th quarter - 7 lessons.

) time boundaries of academic quarters: I quarter: September 1 - November 5; II quarter: November 10 - December 30; III quarter: January 12 - March 22; IV quarter: April 1 - May 30.

The teacher's creativity finds expression, first of all, in the logic of constructing lesson blocks from the proposed lesson topics by the programs.

For example: An art block on the topic “People's Holiday” may include lessons with the following topics:

“Landscape of the native land” (thematic drawing).

“Features of the decor of the national home and costumes of the peoples living in the region” (conversation with sketches of elements of the decor of the home and costume).

“Decorative still life”, composed of household items (drawing from life).

“Sketches of a human figure in motion from life.”

“People's festive festivities” (“Fair”) (individual, group or collective work on a thematic panel) Modern requirements for the management of an educational institution require competent approaches to organizing the educational process from the administrative and teaching corps. The curriculum is a normative document defining: 1) the content of basic knowledge and skills in each academic subject; 2) the logic and sequence of studying topics; 3) the total amount of time to study certain topics. Curriculums are divided into several main types: 1) standard programs; 2) work programs; 3) original programs. At the level of educational institutions, unified approaches to the development and design of teachers’ work programs have been developed. Work program of training courses and disciplines. A work program is a regulatory and management document of an educational institution that characterizes the system of organizing the educational activities of a teacher. The main documents defining the requirements for the level of student preparation and the minimum content of education are: the state educational standard (federal and national-regional components); the basic curriculum of schools in the Russian Federation, including the distribution of educational content according to educational fields, academic disciplines; standard (exemplary) educational programs for each academic discipline of the basic curriculum. The peculiarity of the work program is that it is created for a specific (specific) educational institution, and the individuality is that it is developed by the teacher for his activities. Thus, the teacher’s work program should show how, taking into account specific conditions, educational needs and developmental characteristics of students, the teacher creates an individual pedagogical model of education based on state standards. The work program of an academic subject is an individual tool for a teacher, providing the most optimal and effective content, forms, methods and techniques for organizing the educational process for a particular class in order to obtain a result that meets the requirements of the standard. Thematic plan For the teacher, thematic planning is the main document in the activity. It is compiled for a certain period of time, but most often for a year. The main purpose of this document is to plan the teacher’s lesson activities. Planning is most often presented in the form of a table, which has several mandatory items: lesson number, topic of the lesson, purpose and objectives of the lesson, lesson content, additional material, homework. In the thematic plan, you should also indicate: - Tests, laboratory, practical work (quantity), list of excursions - Requirements for the level of student preparation for each topic (knowledge, skills), etc. General requirements for planning: compliance with the content of the programs;

compliance with the volume of hours included in the program and curriculum;

alternating types of activities;

correspondence to events in the life of society and students;

compliance with the principles of didactics. The outline plan must reflect the following points:

§ place of the lesson in the lesson system; lesson topic; the class in which it is conducted; goals of education, development and upbringing; type of lesson; teaching aids (including software); structure of the lesson, indicating the sequence of its stages and approximate distribution of time; content of educational material; system of exercises and tasks for organization of students' activities; teaching methods at each stage of the lesson; forms of organizing students' educational activities; homework.

Lesson topic:Class:Goals: educational -Lesson type:Learning tools:

educational - to master the concept..., practice skills..., practice application skills..., generalize and systematize knowledge about...

educational - education of morality, activity, hard work, ...

developing - development of an algorithmic style of thinking, combinatorial...

Types of lessons:

a lesson in studying and initially consolidating new knowledge a lesson in developing skills

lesson in applying knowledge, skills and abilities lesson in generalizing and systematizing knowledge

lesson on control and correction of knowledge, skills and abilities combined lesson

. Pedagogical drawing in fine arts lessons at school. Types of pedagogical drawing. Requirements for the implementation of pedagogical drawings

The main thing in a pedagogical drawing is the conciseness of the image, its simplicity and clarity. The drawings on the chalkboard should convey the teacher’s most important idea, omitting everything random and unimportant. In drawing classes, the clarity of learning is paramount, being one of the main means of information about the material being studied. Based on the visual impression obtained during examination, accompanied by an explanation from the teacher, schoolchildren receive a complete understanding of the material being studied, it is easier for them to understand, comprehend, and remember the main thing in the topic of the lesson.

Visual teaching methods

A drawing on a chalkboard helps to understand what he sees and influences the child’s mental development and the correctness of his judgments.

A teacher’s sketch in the margins of a student’s drawing is needed if an error in the drawing is noticed by one or two students and there is no point in distracting the attention of the entire class.

Correcting errors in a student's drawing by the teacher's hand is of great educational importance. Watching the teacher work in his album, the student remembers all the details of this process, and then tries to do as the teacher said.

Demonstration of drawings by outstanding artists will play a big role in learning, because the student, looking at a drawing made by the hand of a great master, sees what expressiveness can be achieved by drawing with an ordinary pencil. .

The principle of visibility requires such a presentation of material (educational), in which the concepts and ideas of students become clearer and more specific. When learning to draw from life, the main attention is paid to the correct depiction of nature, to the correct transmission of perspective phenomena, features of light and shade, and the designs of the subject. To facilitate these basic tasks, it is advisable to install special models (made of wire and cardboard) next to nature so that the drawer can clearly see and clearly understand this or that phenomenon, understand the design of the shape of the object, its characteristic features.

The main visual aids used in life drawing lessons:

schematic drawings and tables;

casts from classical sculptures, wire models;

special models and devices for demonstrating perspective and light and shade;

drawings and tables of the methodological sequence of working on the image;

reproductions of paintings and drawings by masters;

films that reveal the technique of working with pencil and brush;

special devices - “Color Wheel” and “Tone Wheel” for developing children’s sense of color and tone.

. Visualization as a means of enhancing the visual activities of schoolchildren

The principle of visibility lies in the visual perception of an object in any type of drawing class: drawing from life, drawing on themes, creative arts, conversations about art.

Drawing from life is a method of visual learning. We consider visualization in teaching life drawing to be the leading teaching tool.

The best means of visual learning is the teacher’s drawing on the blackboard, on a piece of paper or in the margins of the student’s work. It helps you understand what you see and influences the correctness of your work. The main thing is conciseness of the image, simplicity and clarity.

Visualization is more effective than verbal explanation. Y. A. Komensky proclaimed the principle of clarity as the “golden rule of didactics.” Methodological tables clearly reveal the sequence and features of the drawing, the possibilities of the execution technique, and what means to achieve emotional expressiveness.

Of great educational and educational importance is the demonstration of illustrations of paintings by outstanding artists from teaching aids, examples of which can clearly show how to analyze nature,

When drawing from life, the main attention is paid to its correct rendering. To make the task easier, it is advisable to install special models next to nature in order to understand the design of the shape of the object and its characteristic features. Visualization: diagrams, drawings, tables, plaster models, models made of wire, plexiglass and cardboard help the student to see correctly, understand the shape, structure, color and texture. The sequence above the picture should be considered as a disclosure of specific educational tasks.

. Problem-based learning. Methods of problem-based learning. Types of lessons

Depending on the goal, the mission of the school, learning can be problematic or not problematic. .

Basic functions of problem-based learning. Based on the task of a general education school and on the basis of conclusions from a comparison of the traditional type of learning with problem-based learning, we can formulate the main functions of problem-based learning. They can be divided into general and special. The following general functions of problem-based learning can be indicated: students’ assimilation of a system of knowledge and methods of mental and practical activity, the development of students’ intelligence, that is, their cognitive independence and creative abilities, the formation of dialectical thinking in schoolchildren, the formation of a comprehensively developed personality. In addition, problem-based learning has the following functions: nurturing skills in creative knowledge acquisition (use of a system of logical techniques or individual methods of creative activity), nurturing skills in creative application of knowledge (application of acquired knowledge in a new situation) and the ability to solve educational problems, formation and accumulation of experience creative activity (mastery of scientific research methods, solving practical problems and artistic representation of reality), the formation of learning motives, social, moral and cognitive needs.

Method of monologue presentation. The teacher reports facts in a certain sequence, gives them the necessary explanations, and demonstrates experiments to confirm them. The use of visual aids and technical teaching aids is accompanied by explanatory text. The teacher reveals only those connections between phenomena and concepts that are required to understand this material, introducing them in the order of information. The alternation of facts is constructed in a logical sequence, however, during the presentation, students’ attention to the analysis of cause-and-effect relationships is not specified. Facts “for” and “against” are not given; the correct final conclusions are immediately reported. If problematic situations are created, it is only with the aim of attracting the attention of students and getting them interested. In order to create a problem situation, the teacher most often only changes the order of the reported facts, demonstrations, experiments, display of visual aids and uses as additional elements of content Interesting Facts from the history of the development of the concept being studied or facts telling about the practical application of acquired knowledge in science and technology. The role of the student when using this method is rather passive; the level of cognitive independence required to work with this method is low.

Reasoning teaching method. If the teacher sets a goal to show an example of research into the formulation and solution of an integral problem, then he uses the reasoning method. In this case, the material is divided into parts, the teacher for each stage provides systems of rhetorical questions of a problematic nature in order to attract students to a mental analysis of problematic situations, exposes objective contradictions in the content, but also resolves the use of sentences of narrative and interrogative types, information questions (i.e. . such questions, answering which need to reproduce already known knowledge, give information about known knowledge) are not asked, the narration is conducted in the form of a lecture. The method of restructuring the material for working with this method differs primarily in that a system of rhetorical questions is introduced into the content as an additional structural element. The order of the reported facts is chosen in such a way that objective contradictions in the content are presented in a particularly emphasized, prominent manner, and arouse the students’ cognitive interest and desire to resolve them. . Having chosen a reasoning teaching method, the teacher, in the process of organizing the assimilation process, uses an explanatory teaching method, the essence of which is that it “includes the teacher reporting the facts of a given science, their description and explanation, that is, revealing the essence of new concepts with the help of words, visualization and practical actions."

Dialogical method of presentation. If the teacher sets himself the task of involving students in direct participation in the implementation of a method for solving a problem in order to activate them, increase cognitive interest, and draw attention to what is already known in the new material, he, using the same structure of content, supplements its structure with information questions, answers to given by students. The use of the dialogic teaching method provides a higher level of cognitive activity of students in the learning process, since they are already directly involved in solving the problem under the cruel control influence of the teacher.

Heuristic method of presentation. The heuristic method is used where the teacher sets the goal of teaching students individual elements of solving a problem, organizing a partial search for new knowledge and methods of action. Using the heuristic method, the teacher uses the same structure of educational material as with the dialogic method, but somewhat supplements its structure by setting cognitive tasks and tasks for students at each individual stage of solving an educational problem. Thus, the form of implementation of this method is the combination of a heuristic conversation with the solution of problematic problems and assignments. The essence of the heuristic method is that the discovery of a new law, rule, etc. is not accomplished by the teacher with the participation of students, but by the students themselves under the guidance and help of the teacher.

Research method. The concept of the research method was most fully revealed by I. Ya. Lerner, who classified the research method as a method that organizes the process of assimilation “by solving problems and problematic problems. Its essence is that the teacher constructs a methodological system of problems and problematic tasks, adapts it to the specific situation of the educational process, presents it to students, thereby managing their educational activities, and students, by solving problems, provide a shift in the structure and level of mental activity, gradually mastering procedure of creativity, and at the same time creatively assimilate methods of cognition.” When conducting a lesson using the research method, the same structure of the material is again used and the elements of the structure of the heuristic method and the order of questions, instructions, and tasks are taken. If in the process of implementing the heuristic method these questions, instructions and tasks are proactive in nature, that is, they are posed before solving the subproblem that makes up the content of this stage, or in the process of solving it and perform a guiding function in the solving process, then in the case of using the research method, questions are posed in at the end of the stage, after most students have solved the subproblem.

Method of programmed tasks. The method of programmed tasks is the setting up of a system of programmed tasks by the teacher. The level of effectiveness of the exercise is determined by the presence of problematic situations and the possibility self-production and problem solving. The application of programmed tasks is as follows: each task consists of individual frame elements; one frame contains part of the material being studied, formulated in the form of questions and answers, or in the form of a presentation of new tasks, or in the form of exercises. As a result of the work carried out, we can conclude that at this stage of human development, problem-based learning is simply necessary, since problem-based learning forms a harmoniously developed creative personality capable of thinking logically, finding solutions in various problem situations, capable of systematizing and accumulating knowledge, capable of high self-analysis , self-development and self-correction.

fine arts artistic education

30. Methods of teaching fine arts at different levels of schooling (Continuity of preschool education and primary school, primary school and middle level, middle and senior level of secondary school)

Purposeful and coordinated guidance of a child’s visual activity, taking into account both previous and subsequent artistic development, is a necessary condition successful aesthetic education.

Maintaining continuity in teaching children the fine arts determines a clear definition of the volume of knowledge, skills and abilities that primary schoolchildren must master in separate lessons, on separate topics, sections throughout the entire school year, based on the volume of knowledge, skills and abilities that they received in art classes in kindergarten or in the family. Particular attention should be paid to identifying specific connections between the main organizational forms of teaching children the fine arts in preschool and primary school age.

Schools and kindergartens face common goals and objectives in teaching children the basics of visual literacy. Continuity of the content of fine arts classes in the senior groups of kindergarten and in primary school:

The kindergarten regularly conducts classes in drawing, modeling, appliqué and design. The school offers fine arts classes. Modeling, appliqué and design in primary school are carried out during labor training lessons. The fine arts program for grades I - III notes the need to coordinate the tasks and content of these lessons. 2. The types of drawing in the older groups of kindergarten and in the primary grades of school are the same. There are only some differences in their names.

The skills and abilities necessary for a child’s visual activities are coordinated in kindergarten and primary school programs. 4. Analysis of the specific tasks of the programs of the senior groups of the kindergarten allows us to conclude that a child entering school from kindergarten is fully prepared to successfully complete the educational material and to further compose creative compositions, illustrations, and patterns. He is prepared for the perception and further study of form, space, patterns of color science and composition. Thus, the tasks provided for in the programs, sample tasks and the content of knowledge, skills and abilities in the visual arts in kindergarten and primary school, and the general development of a six- to seven-year-old child make it possible to ensure continuity in the visual arts of preschoolers and primary schoolchildren. However, for this the following conditions must be met:

It is mandatory for primary school teachers to take into account the drawing training that a child receives in kindergarten, taking into account the level of development of his artistic and creative abilities and aesthetic sensitivity. 2. The primary school teacher’s orientation towards further consolidation and development of children’s ideas and impressions accumulated in preschool age. 3. The teacher’s orientation towards bringing together the methods of teaching children fine arts in the primary grades with the methods of teaching children to draw in kindergarten. 4. Widespread use in primary classes of various visual materials: pencils, watercolors, gouache, crayons, sanguine, pastels, felt-tip pens, ink, colored tinted paper. The use of all these means will allow children to more successfully develop aesthetic taste, an understanding of beauty, creative independence and imagination, especially since all of these materials are widely recommended in kindergartens and are used by children with pleasure.

Thus, strict adherence to the educational tasks provided for by the educational program in kindergarten and the visual arts program in primary school will ensure continuity in the visual activities of preschoolers and primary schoolchildren, which is a necessary condition for the mental development of children and the formation of their emotional and aesthetic attitude to reality. The principle of continuity assumes that educational activities, especially at the initial stage, are carried out under the direct supervision of the administration. Solving the problem of continuity, work is carried out in three directions:

. joint methodological work of primary school teachers and secondary school subject teachers;

. working with students;

. working with parents.

Continuity between primary school and 5th grade involves the following areas:

. educational programs;

. organization of the educational process;

. uniform requirements for students;

. lesson structure.

I propose a work plan for continuity between primary and basic general education, which has been successfully used in our school for several years. The work plan is supplemented by appendices.

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The development of a creative personality and its artistic abilities is directly related to the purpose and objectives of teaching the subject of art.

Its main GOAL is familiarization with spiritual culture as a way of transmitting universal human values ​​from generation to generation, the perception and reproduction of which in one’s activities leads to creative and moral self-development of a person, preserving the integrity of his inner world. Thus, by joining spiritual culture, a person simultaneously joins his natural essence, developing his basic - universal - abilities: For holistic, imaginative thinking; For empathy with the world around him; For creative activity.

The realization of this goal is carried out by the aesthetic education of a person through the means of art and artistic pedagogy. They are based on art education and artistic activity. Only in their totality can we imagine the implementation of the goals of aesthetic education. These are two different ways of developing human consciousness, not replacing, but complementing each other.

The criteria for assessing a person’s creative development in the field of aesthetic education are revealed in accordance with the tasks of forming a harmoniously developed person. There are three interconnected directions in it: A) preserving the moral integrity of the individual; B) developing its creative potential; C) ensuring the harmonious correlation of its social and unique features.

All this is naturally realized in human artistic activity.

In his cognitive and creative activity, a child learns, first of all, its meaning, which is associated with an emotional and evaluative attitude towards life. Art is a means of accumulating and concentrating the life experience of humanity, which is associated with the tasks of developing the moral and creative potential of people. Therefore, one of the main goals of art is to rely on the universal powers of man to develop his moral ideal, creative attitudes, aesthetic emotions, and feelings.

The art program at school provides for 4 main types of work - drawing from life, thematic drawing, decorative drawing, conversations about art, which are closely related to each other and complement each other in solving the problems set by the program.

The objectives of art classes include: Developing students’ visual perception. Develop observation abilities, establish similarities and differences, classify objects by shape and texture. To develop aesthetic and artistic abilities, to teach drawing from life, on themes, to perform illustrations and decorative drawings, to develop graphic and pictorial skills. Develop mental and abstract thinking.

The leading type of drawing is rice. cat from nature leads to the overall development of a person - develops imagination, mental, spatial and abstract thinking, eye, memory.

School art course. art aims to:

1. To prepare comprehensively developed, educated members of society,

2. Raise children aesthetically and develop their artistic taste.

3. Help children learn about the world around them, development. observation, to teach to think logically, to realize what is seen.

4. Teach how to use drawing in work and social activities

5. Give students knowledge of the basics of realistic drawing. To instill skills and abilities in fine art, to familiarize with the basic technical techniques of work.

6. Develop the creative and aesthetic abilities of students, develop spatial thinking, imaginative representation and imagination.

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

The subject of art teaching methods is closely related to special and psychological-pedagogical disciplines. The methodology as a subject of study examines the features of the teacher’s work with students. Methodology is understood as a set of rational methods of teaching and upbringing. This is a special department of pedagogy that studies the rules and laws of constructing the educational process. The methodology can be general, it considers teaching methods inherent in all subjects and specific - methods and techniques used in teaching any one subject.

The methodology of teaching art as a science theoretically generalizes practical experience, offers teaching methods that have already proven themselves and give the best results. The purpose of the course is to form the foundations and professional pedagogical consciousness of an art teacher. The objective of the course is knowledge of history, theory, scientific research methods in the field of art teaching methods, the acquisition of intellectual and practical skills to solve the problems of art teaching, the creation of the foundations for the subsequent formation of a creative approach to the activities of an art teacher, the formation of a sustainable interest in the profession of an art teacher. The teaching method refers to the way the teacher works with students in which better assimilation of educational material is achieved and academic performance increases.

The teaching method consists of individual teaching methods: - by the source of knowledge acquisition (visual, practical, verbal, game) - by the method of acquiring knowledge (reproductive, information-receptive, research, heuristic) - by the nature of the activity (method of organizing and implementing educational and cognitive activity, method of control and self-control, method of stimulation and motivation of learning) - by type of lesson

The success of education and training largely depends on what methods and techniques the teacher uses to convey certain content to children, develop their knowledge, skills, and abilities, as well as develop abilities in a particular area of ​​activity.

Methods of teaching visual activity and design are understood as a system of actions of a teacher who organizes the practical and cognitive activities of children, which is aimed at mastering the content defined by the Federal State Educational Standard for Primary General Education.

Teaching techniques are the individual details, components of the method.

Traditionally, teaching methods are classified according to the source from which children acquire knowledge, skills and abilities, and according to the means by which this knowledge, abilities and skills are presented.

Since school-age children acquire knowledge in the process of direct perception of objects and phenomena of the surrounding reality and from the teacher’s messages (explanations, stories), as well as in direct practical activities (construction, modeling, drawing, etc.), the following methods are distinguished:

Visual;

Verbal;

Practical.

This is the traditional classification. IN Lately a new classification of methods has been developed. The authors of the new classification are: Lerner I.Ya., Skatkin M.N. it includes the following teaching methods:

informative - receptive;

reproductive;

research;

heuristic;

method of problematic presentation of material

The information-receptive method includes the following techniques:

examination;

observation;

excursion;

example of a teacher;

teacher demonstration.

The verbal method includes:

story, art history story;

use of teacher samples;

artistic word.

The reproductive method is a method aimed at consolidating the knowledge and skills of children. This is a method of exercises that bring skills to automaticity. It includes:

reception of repetition;

work on drafts;

performing form-building movements with the hand.

The heuristic method is aimed at demonstrating independence at some point in the work in the classroom, i.e. The teacher invites the child to do some of the work independently.

The research method is aimed at developing in children not only independence, but also imagination and creativity. The teacher suggests that you do not just any part, but all the work yourself. The method of problem presentation, according to didactics, cannot be used in teaching younger schoolchildren: it is applicable only for older schoolchildren.

In his activities, the teacher uses various methods and techniques in drawing, modeling, appliqué and design.

So in drawing, the main technique for first grade is showing how to use pencils and paints. The most effective technique is passive movements, when the child acts not independently, but with help. Playful visual movements of a homogeneous, rhythmic nature with the pronunciation of words: “here - here”, “up and down”, etc. are effective. This technique makes it possible to connect the image of an object with pictorial movement.

The use of literary musical instruments- the most important methodological technique. Another method of working in primary grades is co-creation between the teacher and children.

In the lower grades, the information-receptive method is actively used in drawing classes. An effective way to become familiar with the shape of an object before class is especially useful: children trace the shape with their hands, play with flags, balls, balls, and feel their outlines. Such examination of the subject creates a more complete picture of it.

Also effective is the technique of examining an object by moving your hand along the contour and showing this movement in the air.

So, the main methodological principles of teaching fine arts are a number of characteristics:

1. Availability of tasks.

The process of drawing is associated with the perception and study of objects of reality, with understanding the characteristics of the perception of form, environment, lighting, the influence of one color on another, etc. Every teacher knows about the great interest of children in drawing; everyone is familiar with the courage and sometimes great expressiveness of children’s independent drawings. In this regard, sometimes children's capabilities are overestimated - they are given impossible tasks. It doesn't do them any good.

But there should also be no underestimation of students’ capabilities, excessive narrowing of tasks, or limitation of the range of objects depicted. Such requirements could take place in the copy training system, but it is incompatible with the tasks of teaching realistic images, which are based on the visual perception of objects and phenomena of reality.

From the first steps of learning to draw, along with the development of perception of specific objects and phenomena of reality, children are led to an understanding of the elements of abstraction.

The more deeply and fully children understand the various phenomena of reality (for example, perspective, lighting), comprehend the features of visual perception, the more accessible to them are the methods of analyzing the visible form of objects, the understanding of the rules for constructing a drawing is transferred from one object to others, similar in shape. Along with this, drawing conclusions from observations of the same phenomenon on different objects and in different conditions, specific ideas are abstracted by students into general concepts and ideas. The result of each task should be a drawing in which, as completely and convincingly as possible, the student conveys the objects of reality.

Consequently, the accessibility of tasks is to a very large extent determined by the nature of the image to which the teacher leads students in solving a specific problem.

Thus, taking into account the general development of students with hearing impairment and the development of their visual abilities determines the availability of tasks and requirements for their drawings.

2. Sequence of learning tasks

When determining the sequence of drawing tasks, it is necessary to take into account the peculiarities of students’ perception of objects of reality and the process of depicting them on a plane.

The image process takes place over time; it is divided into separate stages. Therefore, learning to draw is associated with developing in students the ability to isolate individual aspects in a holistic visual image in order to convey them on a plane without losing the whole.

Along with this, from the very beginning of learning, children develop the ability to see the objects depicted in a drawing (behind the lines, strokes, tone, color as holistically as in reality), and also, by comparing the image with reality, to evaluate the drawing at all stages of its implementation.

At any stage of learning, with any simple task in conveying holistic visual images of objects, students are always given a group of tasks.

In teaching drawing, the tasks of linear construction of the shape of objects on the plane of a sheet are of leading importance. The main development of these tasks is associated with the gradual mastery of conveying in drawing the volume of objects and their position in space. In painting classes, the emphasis is on analyzing color and reflecting on one’s emotions associated with a particular color.

3. Requirements for student drawings.

The requirements for students’ drawings can be combined into two main groups, corresponding to various educational tasks: requirements related to the technical side of the work and requirements related to the aesthetic side of visual activity:

So, the technical requirements could be:

correct placement of the drawing on the sheet;

conveying the proportions of objects in accordance with the depicted reality;

mastery of line and spot as means of conveying the shape of objects on a plane;

conveying the characteristic color features of objects.

There are also requirements for students’ drawings related to perspective depictions of objects:

when depicting objects from nature, convey perspective phenomena as they are visible to the student from his point of view;

starting from the 3rd grade of drawing from life individual objects of a rectangular shape, convey the abbreviations of the surfaces of objects turned in depth from a certain point of view, without violating the design and proportions;

correctly convey the direction of the lines of the base and top of objects, taking into account the level of your vision, and coordinate the top and bottom of the depicted object in the drawing, focusing on a certain level of vision;

convey the far boundary of the horizontal plane on which objects are located;

When drawing groups of objects from life, depict on the sheet the bases of nearby objects below, the bases of distant objects above, in accordance with the specific spatial relationships of objects in nature.

4. Consciousness and emotionality of the educational process.

In order to achieve good results in teaching drawing, along with the correct selection of tasks, a very important role is played by the teacher’s use of all educational opportunities inherent in drawing, as in the process of developing aesthetic needs. Its possibilities are very wide, since the process of drawing is a meaningful transfer of reality, conditioned not only by visual perception, but also by an understanding of its essence, awareness of its features.

The main prerequisites for the activity of the educational process are children’s understanding of the tasks of depiction and an emotional attitude both to nature and to the drawing process itself.

To improve the quality of the entire drawing process, it is necessary to arouse an emotional attitude in children, to arouse joyful anticipation of interesting work. Along with this, interest should be consolidated and supported by the aesthetic qualities of nature itself - its shape, color, surface, how it is placed, illuminated, what background it is against and whether it is clearly visible to those drawing. They must see the features of nature, comprehend them, understand what is familiar to them in objects and their position in space, what is new.

The initial perception of nature is usually holistic. It is very important that it is also emotional. This also has a great impact on the further development of perception associated with the analysis of nature.

When starting to draw, it is necessary to awaken in students an emotional attitude towards the topic. The teacher can direct the students' attention to viewing pictures, listening to music, etc. Complementing each other, these means of emotional influence will gradually lead children to a more complete perception of reality, as well as to the choice of means of representation available to them.

At different stages of education, children usually experience a feeling of joy and aesthetic satisfaction from work. An important point in fine arts classes is reflection and the formation of an evaluative component. By analyzing their drawings in the process of work and the drawings of their comrades at the end of work, schoolchildren learn not only to convey the surrounding reality through the means of fine art, but also to understand the concepts of “beautiful - ugly”, “good - bad”... This gives the teacher the opportunity to develop the taste of students, to familiarize them with the material culture of the present and the past, to improve technical skills.

Over the centuries, the school has accumulated quite a lot of experience in teaching children. Thus, different points of view have emerged on the concept and effectiveness of using various methods and principles of teaching.

The learning process is a rather complex phenomenon, and it cannot be represented as a simple transfer of knowledge by a teacher to students who do not yet possess this knowledge. Here, naturally, the questions arise: “What to teach?” and “How to teach?”

The laws or rules operating in any science reflect its objective, significant and stable connections, and also indicate certain trends in their development. However, these laws do not contain direct instructions for practical actions: they are only a theoretical basis for developing technology for practical activities.

The task of didactics is to, on the basis of knowledge about the objective development of the educational process, find out how, based on the laws of its development, principles and rules of teaching are developed that guide the teacher in his practical work. All this actualizes the research topic.

Object of study:lessons in fine arts and artistic work.

Subject of study:didactic principles and methods of teaching fine arts and artistic work.

Hypothesis: Correctly and skillfully organized, methodologically competent use of didactic principles and teaching methods in the lessons of artistic work and fine arts helps to increase the effectiveness of the educational process, namely:

• Helps to increase the activity and interest of students, which is reflected in the results of their work.
• Promotes the development of love for the fine arts and artistic work.
• Develops qualities such as: perception, attention, imagination, thinking, memory, speech, self-control, etc.
• Promotes the rapid and lasting assimilation of knowledge, which develops into skills and abilities.
• Forms the ability to apply acquired knowledge in practice.

Goal of the work: study and justification of the influence of teaching methods on the educational process in fine arts lessons.

The following follows from the goal: tasks :

• Consider concepts - teaching methods.
• Consider classifications of teaching methods and their relationships.
• Identify the main teaching methods used in fine arts lessons.
• Study the implementation features of the basic methods used in these lessons.
• To substantiate the influence of teaching methods on the activity of schoolchildren and the effectiveness of the educational process.

1. Teaching methods in fine arts lessons

1.1 The concept of teaching methods and their classification

The concept of teaching method is quite complex. However, despite the different definitions given to this concept by teachers, one can note something in common that brings their points of view closer together. Most authors tend to consider the teaching method as a way of organizing the educational and cognitive activities of students.

Teaching methods are understood as a sequential alternation of methods of interaction between teacher and students, aimed at achieving a specific goal through the study of educational material.

"Method" (in Greek - “the path to something”) - a way to achieve a goal, a way of acquiring knowledge.

The etymology of this word also affects its interpretation as a scientific category. " Method – in the most general meaning – a way to achieve a goal, a certain ordered activity,” says the philosophical dictionary.

It is obvious that in the learning process, the method acts as an orderly way of interconnected activities of the teacher and students to achieve certain educational goals. From this point of view, each teaching method organically includes the teaching work of the teacher (presentation, explanation of new material) and the organization of active educational and cognitive activity of students. That is, the teacher, on the one hand, explains the material himself, and on the other, strives to stimulate the educational and cognitive activity of students (encourages them to think, independently formulate conclusions, etc.).

Classification of teaching methods– this is a system of them ordered according to a certain characteristic. Currently, dozens of classifications of teaching methods are known. However, current didactic thought has matured to the understanding that one should not strive to establish a single and unchanging nomenclature of methods. Learning is an extremely fluid, dialectical process.

The system of methods must be dynamic to reflect this mobility and take into account the changes that constantly occur in the practice of applying methods.

Learning consists of such actions as solving assigned problems and evaluating results, trial and error, experimentation, selection and application of concepts.

All teaching methods are divided into three large groups:

• methods of organizing and implementing educational and cognitive activities;
• methods of stimulation and motivation of educational and cognitive activity;
• methods of monitoring and self-monitoring of the effectiveness of educational and cognitive activities.

In the learning process, the method acts as an orderly way of interconnected activities of the teacher and students to achieve certain educational goals, as a way of organizing the educational and cognitive activities of students.

Explanatory-illustrative and reproductive are methods of traditional teaching, the main essence of which boils down to the process of transferring ready-made known knowledge to students.

This classification is in good agreement with the main learning objectives and helps to better understand their functional purpose. If some clarifications are made to this classification, then the entire variety of teaching methods can be divided into the following five groups:

a) methods of oral presentation of knowledge by the teacher and activation of students’ cognitive activity: story, explanation, lecture, conversation;

b) method of illustration and demonstration when presenting the material being studied orally;

c) methods of consolidating the material being studied: conversation, working with a textbook;

d) methods for students’ independent work to comprehend and master new material: working with a textbook, practical work;

e) methods of educational work on applying knowledge in practice and developing skills: exercises, practical classes;

f) methods of testing and assessing students’ knowledge, skills and abilities: daily observation of students’ work, oral questioning (individual, frontal, compact), assignment of lesson points, tests, checking homework, programmed control.

Table 1. Teaching methods

1.2 Basic methods of teaching fine arts and artistic work

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

• the nature of technical processes and labor operations;
• development of polytechnic thinking, technical abilities;
• formation of generalizing polytechnic knowledge and skills.

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

Accordingly, the methods are divided into 2 groups:

1. Methods of independent work of students under the guidance of a teacher.
2. Methods of teaching, learning.

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

• verbal;
• visual;
• practical.

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

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

• reproductive;
• partially search;
• problematic;
• research;
• explanatory and illustrative.

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

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

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

1. Verbal teaching methods

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

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

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

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

Possibly several types of story:

• story-introduction;
• story-exposition;
• conclusion story.

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

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

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

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

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

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

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

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

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

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

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

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

Requirements for conducting interviews.

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

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

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

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

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

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

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

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

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

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

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

Types of instruction:

• By time:

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

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

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

• By student coverage: individual, group, classroom.
• According to the form of presentation: oral, written, graphic, mixed.

2. Visual teaching methods

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

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

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

• illustration method;
• demonstration method.

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

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

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

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

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

Conditions for the effectiveness of application demonstrations are: carefully thought out explanations; ensuring good visibility of the demonstrated objects to all students; widespread involvement of the latter in slaverydepartment for preparing and conducting demonstrations.

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

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

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

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

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

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

• artistic drawing– a real image of an object, used if the object itself cannot be shown due to its absence, small or large size; makes it possible to identify material and color (used in art and fine arts lessons);
• technical drawing– graphic image, which is made arbitrarily, by hand, using drawing and measuring tools; all structural elements are conveyed with approximate preservation of dimensions and proportions (used in art classes);
• sketch – a conditional reflection of an object, which is made without the use of drawing and measuring tools with approximate preservation of dimensions and proportions (used in art and fine arts lessons);
• drawing – a graphic representation of an object using drawing and measuring objects on a certain scale, with precise preservation of dimensions, using methods of parallel proportions, contains data on the size and shape of the object (used in art lessons);
• technical map- an image on which there may be a drawing of the product, tools, materials and devices may be indicated, but there is always a sequence of operations and work techniques (used in art lessons).

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

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

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

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

3. Practical teaching methods

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

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

Exercises by their nature they are divided on the:

• oral;
• written;
• training and labor;
• graphic.

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

By degree of independencestudents while performing the exercise highlight:

• exercises to reproduce the known for the purpose of consolidation;
• reproducing exercises;
• exercises to apply knowledge in new conditions – training exercises.

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

Features of the use of exercises.

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

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

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

Graphic exercises are usually performed simultaneously with written ones.

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

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

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

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

When using practical methods, skills and abilities are formed.

Actions - are carried out by students at a slow pace with careful thought through each element performed.

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

Operations – combined techniques.

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

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

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

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

• Polytechnic skills - measuring, computing, graphic, technological.
• General labor skills - organizational, design, diagnostic, operator.
• Special labor skills - processing different materials in different ways.
• The formation of skills is always associated with practical activities.

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

4. Reproductive teaching methods

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

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

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

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

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

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

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

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

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

5. Problem-based teaching methods.

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

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

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

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

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

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

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

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

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

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

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

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

6. Partial search method of teaching

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

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

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

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

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

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

7. Research method of teaching

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

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

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

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

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

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

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

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

8. Explanatory and illustrative teaching method

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

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

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

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

9. Methods of independent work

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

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

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

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

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

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

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

• positive emotions towards the activity;
• the presence of the cognitive side of these emotions;
• the presence of a direct motive coming from the activity itself.

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

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

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

Emotional experiences are caused by using the technique of surprise.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For example:

1. Make images of individual objects from geometric shapes.

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

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

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

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

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

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

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

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

This is another important thing in order to lead students to good academic results.

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

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

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

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

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

11. Methods of control and self-control in training

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

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

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

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

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

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

2. Methods of teaching fine arts and artistic work using effective methods of teaching primary schoolchildren

2.1 Effective methods used in the process of teaching primary schoolchildren fine arts and artistic work

The study of theoretical material on the issue “Didactic principles and methods of teaching fine arts and artistic work” allowed us to identify and test in the practice of the school those methods and principles that are more conducive to the effective teaching of junior schoolchildren in the lessons of fine arts and artistic work.

At the first stage, teaching methods and principles were classified for application in lessons after studying the program material. These methods and principles were:

Effective methods of teaching fine arts and artistic work

By source of acquired knowledge:

1. Visual (illustration, demonstration).
2. Verbal (story, conversation, explanation).
3. Practical (exercises).

By type of activity of students (M.N. Skatkin):

1. Reproductive (answers to teacher questions).
2. Explanatory and illustrative (story, conversation, demonstration experiments, excursions).
3. Partially search (independent completion of tasks with partial help from the teacher).
4. Problematic (problem formulation and search for solutions).
5. Research (statement of the problem - instruction - independent study, observation - results).

Methods of stimulation and motivation of cognitive activity:

– methods of developing cognitive interest (cognitive games, educational discussions, creating a situation of success).

Principles of teaching fine arts and

artistic work

1. The principle of consciousness and activity.
2. The principle of visibility.
3. The principle of systematicity and consistency.
4. The principle of the strength of knowledge acquisition.
5. The principle of science.
6. The principle of accessibility.
7. The principle of connection between theory and practice.
8. Polytechnic principle.

2.2 Guidelines for the use of effective teaching methods in fine arts and artistic work

At the second stage, I attended lessons in fine arts and artistic work, and also developed a series of lessons on these subjects using the above effective teaching methods and principles.

1. Visit and analysis of fine arts and artistic lessons.The purpose of attending lessons was to identify the effectiveness of using correctly and skillfully organized teaching methods and principles.

In order to check how effective this use is, I attended several lessons in fine arts and artistic work in the 1st and 3rd grades. After analyzing these lessons and observing the results of students’ activities, the following conclusions can be drawn:

Lesson #1. (Annex 1)

At the first lesson, held in the 3rd grade on the topic “Firebird,” the teacher skillfully organized the children’s work.

The lesson was conducted in the form of collective creative activity. Various teaching methods were used:

• verbal (story about the Firebird, explanation of the sequence of work, conversation with children);
• visual (showing pictures, methods and techniques of work);
• practical;
• explanatory and illustrative;
• reproductive;
• partially search;

Methods of stimulation and motivation of educational and cognitive activity were also used (creating a situation of success at the beginning of the lesson).

The didactic principles were very correctly and skillfully implemented:

• the principle of science (information about the Firebird);

• principle of systematicity and consistency(distribution of material based on previously acquired knowledge);
• the principle of consciousness and activity (activation of mental activity, creativity, collective and individual activity);
• principle of visibility(development of perception, interest, observation);
• principle of accessibility (compliance of the material with age characteristics, differentiated approach);
• principle of strength(training exercises).

The use of musical accompaniment in the practical part helped to maintain the emotional mood of the children.

The students’ work was organized, and the individual characteristics of the students were taken into account when explaining the task, techniques and methods of work. When completing the task, weak children were provided with individual assistance.

The variety of visual aids contributed to the effectiveness of the lesson. During the conversation, the questions are formulated clearly, specifically, and concisely.

All stages of the lesson have been followed. All lesson objectives have been achieved. The students' work was active.

After analyzing the children’s work, we can draw the following conclusion: out of 23 students in the class, all of them successfully completed the work.

At the end of the lesson, reflection was carried out. The children were asked to draw a sun on the board if everything in the lesson was clear to them and everything worked out. Cloud and sunshine - if they encountered some difficulties during the work. Tuchka - if nothing worked.

All the children drew a sun.

The results of the students' work are included in the diagram.

All this testifies to the excellent, skillfully organized work of the teacher, his ability to correctly select and use teaching methods and principles in the fine arts lesson.

Lesson #2. (Appendix 2)

The lesson was taught in 3rd grade (2nd quarter). The structure of the lesson is built correctly. All stages have been met.

Various methods of work were used in the lesson:

• verbal (conversation, explanation);
• visual (showing drawing element by element);
• practical (training exercises);
• reproductive and explanatory-illustrative;
• method of independent work, control and self-control.

During practical work, the teacher monitored the organization of workplaces, the correct execution of drawing techniques, and provided assistance to many students experiencing difficulties. Throughout the practical part of the lesson, the teacher had to help the children draw birch trees, spruce trees, aspen trees...

However, when summing up the lesson, it turned out that not all children coped well with the task. Many of the drawings turned out unsuccessful.

This is due to an ill-considered selection of the teaching method. When explaining the drawing sequence, only the explanatory and illustrative method was used, although the combined use of this method with a practical one would be much more effective. Children would practice drawing trees together with the teacher. Instead, they were distracted, talking among themselves. In this regard, the principle of consciousness and activity, the connection between theory and practice were not fully realized.

Various principles were used in the lesson:

• visibility;
• systematicity and consistency;
• principle of accessibility.

The principle of strength, which could be implemented in the process of training exercises, was practically absent.

To maintain interest in the subject among weak students, when summing up results, it is necessary to pay more attention to the positive aspects of the work, and smooth out children’s failures (a method of stimulating and motivating cognitive activity).

Lesson #3. (Appendix 3)

The lesson was conducted methodically correctly. All stages of the lesson have been followed. The children's readiness for the lesson was checked. In the process of work, through the use of entertaining material (riddles, puzzles), a method of creating cognitive interest is implemented.

Verbal (explanation, story, conversation, instruction), visual (demonstration method, drawing) and practical methods of organizing and implementing educational and cognitive activities were used. The method of independent work, reproductive and explanatory-illustrative methods are also appropriately used and well organized. The joint practical activity of the teacher and students in explaining the sequence and methods of work was effectively reflected in excellent work results.

When analyzing the product, the questions were formulated clearly, clearly and correctly, which contributed to the implementation of the principle of accessibility. The children's answers were supplemented and corrected during the conversation. Enough attention was paid to repeating safety precautions when working with scissors.

When explaining work methods and conducting vocabulary work, the age characteristics of students were taken into account, which contributed to the implementation of the principle of accessibility, and, consequently, the principle of consciousness and activity. The principles of scientific character were also used (when explaining the concepts of “case”, seam “over the edge”), clarity, systematicity and consistency, strength of knowledge acquisition (repetition of safety precautions and sequence of task completion), connection of theory with practice, as well as the polytechnic principle of teaching artistic labor (the process of transforming an object of labor into a finished product, becoming familiar with tools and the rules for their use, learning to use objects of labor).

All students completed the work. The products turned out colorful and neat. The children used them for their intended purpose.

Objective assessments of the work are given.

During the reflection, it turned out that all the children were satisfied with their work, they were interested, and everything worked out for them.

Conclusion

In this work, an analysis of methodological and psychological-pedagogical literature was carried out, and classifications of methods were considered. Also, much attention was paid to the basic methods used in art and fine arts lessons.

The practical part presented the results of observations and analysis of lessons in these subjects in order to study the influence of teaching methods on the educational process, and also developed several lessons in these subjects using the above teaching methods.

The study of the research topic “Methods of teaching fine arts and artistic work” allowed us to draw the following conclusions:

1. For teaching to be effective, teaching methods must be used as required.
2. Only the correct and skillfully organized use of teaching methods will contribute to increasing the effectiveness of the educational process.
3. Teaching methods must be used in combination, since there are no “pure” methods or principles.
4. For teaching to be effective, the use of a combination of certain teaching methods must be carefully thought out by the teacher.

Both from the theoretical part and from the practical part, it follows that skillfully organized, methodologically competent use of teaching methods in the lessons of artistic work and fine arts helps to increase the efficiency of the educational process.

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

· the nature of technical processes and labor operations;

· development of polytechnic thinking, technical abilities;

· formation of generalizing polytechnic knowledge and skills.

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

Accordingly, the methods are divided into 2 groups:

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

2) Methods of teaching and learning.

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

· verbal;

· visual;

· practical.

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

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

· reproductive;

· partially search engines;

· problematic;

· research;

· explanatory and illustrative.

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

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

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

1. Verbal teaching methods

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

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

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

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

Possibly several types of story :

o story-introduction;

o story - presentation;

o story-conclusion.

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

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

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

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

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

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

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

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

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

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

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

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

Requirements for conducting interviews.

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

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

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

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

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

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

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

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

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

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

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

Types of instruction:

· By time:

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

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

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

· By student coverage: individual, group, classroom.

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

2. Visual teaching methods

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

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

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

· illustration method;

· demonstration method.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3. Practical teaching methods

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

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

Exercises by their nature they are divided on the:

· oral;

· written;

· training and labor;

· graphic.

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

By degree of independence students while performing the exercise allocate :

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

· reproducing exercises;

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

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

Features of the use of exercises.

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

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

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

Graphic exercises are usually performed simultaneously with written ones.

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

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

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

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

When using practical methods, skills and abilities are formed.

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

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

Operations are combined techniques.

Skills are knowledge that is applied in practice, meaning students’ conscious performance of given actions with the choice of the correct work methods, but knowledge may not be brought to the level of skills.

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

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

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

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

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

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

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

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

4. Reproductive teaching methods

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

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

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

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

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

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

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

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

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

5. Problem-based teaching methods.

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

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

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

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

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

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

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

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

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

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

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

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

6. Partial search method of teaching

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

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

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

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

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

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

7. Research method of teaching

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

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

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

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

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

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

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

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

8. Explanatory and illustrative teaching method

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

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

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

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

9. Methods of independent work

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

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

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

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

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

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

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

Positive emotions towards the activity;

· the presence of the cognitive side of these emotions;

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

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

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

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

Emotional experiences are caused by using the technique of surprise.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For example:

1. Make images of individual objects from geometric shapes.

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

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

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

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

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

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

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

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

This is another important thing in order to lead students to good academic results.

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

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

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

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

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

11. Methods of control and self-control in training

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

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

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

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

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

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