Shoemakers complete drawing course. Complete drawing course
Sapozhnikov also approached the methodology of teaching drawing in a new way. He set himself the task of teaching draftsmen to think, reason, and analyze while working. A series of models made of wire and cardboard served this purpose, which helped students understand the structure of the shape of an object, the phenomenon of perspective and the law of light and shadow.
Before the publication of Sapozhnikov’s manual, drawing instruction in all general educational institutions took place exclusively according to Preisler’s book, and complete copying from the originals reigned. No attention was paid to drawing from life.
Sapozhnikov pointed out that the best remedy image of the shape of an object is a method of simplifying it in initial stage drawing. At the beginning, the student must determine the geometric basis of the shape of the object, and then proceed to refinement. “One of these methods is the method of decomposing any of the visible objects into the simplest geometric figures…»
According to Sapozhnikov, the teacher should not so much correct the student’s drawing as explain his mistake verbally.
Methodological models are used to achieve this goal. Sapozhikov’s models are not used for sketching, but for revealing the laws of nature’s structure. They are located next to nature and help the student understand the design features of the form. So, when drawing a plaster head, Sapozhnikov suggests using a wire model.
Positive aspects of A.P.’s teaching methods Sapozhnikov have not lost their significance in our time. The "Drawing Course" begins with an introduction to different lines, then corners, after which development occurs various figures. Before starting to draw three-dimensional objects, Sapozhnikov suggests demonstrating to students the laws of perspective using special models, again starting with a line, then moving on to various surfaces and, finally, to geometric bodies.
Sapozhnikov also explained the laws of light distribution on the surface of the shape of objects using visual aids. These are white, bent in various ways cardboards, as well as cardboards placed in different positions in relation to the incident light, serving to observe light, shadow, penumbra, reflections and falling shadows. The illumination of round bodies is explained in exactly the same way as that of polyhedral ones. For this, the painter imagines only the edges, gradually decreasing in width until they merge into one surface.
The first part of the “Course...” ended with drawing a human head. The presentation of the material in the second part of the manual begins with an introduction to the dimensions human body and a skeleton.
The chapter “On the main points of the human body” talks about the nodal points that the draftsman needs to pay attention to Special attention, since they are the main landmarks, no matter what position the body is in.
In the chapter “Balance of the Human Body,” Sapozhnikov introduces the draftsman to the laws of equilibrium of bodies and the rules of depiction human figure in move. The author clearly shows how to establish the balance axis: (it should run vertically from the jugular fossa to the middle of the heels...)
The section on drawing the human figure ends methodological instructions for teachers, where the author emphasizes the importance of activating cognitive activity student while drawing from life.
The “Drawing Course” ends with the section “Composing pictures,” in which the author introduces students to some of the rules of perspective necessary when creating paintings, followed by a presentation of the basics of composition. Here Sapozhnikov seems to anticipate the future expansion of the types of fine arts classes in drawing lessons in secondary schools.
Drawing competitions and pedagogical courses at the Imperial Academy of Arts.
Each educational institution could submit to the competition best works students (once every 3 years and some once every 6 years). At one exhibition the works of men's institutions were exhibited, at the second - women's, at the third - industrial. For these competitions, in order for the teaching system to be visible, it was required to submit 1. All drawings for the year by one student in each class, 2 - the works of the best students, 3 - an explanatory note about the conditions, content and methods of classes and information about the teacher. The submitted drawings were reviewed by the competition committee of the Academy of Arts, which awarded awards to both teachers and students. Pedagogical courses at the Imperial Academy of Arts.
In 1869, the academy organized Sunday drawing classes for those wishing to obtain the right to teach drawing, Vereshchagin observed, Shemiot. And in 1879, pedagogical courses were established to train drawing teachers. During the courses there was a normal school, where students took teaching practice. Not content with the work of the preparatory commission to develop instructions for these courses, the academy sent the main initiator and leader Shemiot abroad to study the methods of teaching drawing used there. At the end of the full course (two years), students took an exam. Certificates for the right to teach were divided into 3 types. 1) for secondary educational institutions, 2) for lower urban schools, 3) for primary schools. Those wishing to teach in secondary schools were required to be able to draw well from life a nude human figure, an interior, a still life, a human head. For the lower classes - a drawing of a plaster head, a drawing from life of a human figure and an interior. To obtain the right to teach in primary classes - ornament drawing, still life and line drawing groups geometric bodies.
Full course drawing. Sapozhnikov A.P.
M.: 2003. - 160 p.
One of the best Russian textbooks on fine arts. Sapozhnikov's first textbook was published in St. Petersburg in 1834. From the preface: "... the purpose for which drawing classes are established in most educational institutions is not to make artists out of students, but to develop in them the ability to depict on paper visible objects clear and correct." These words reflected the meaning of Sapozhnikov’s program, who set the achievement of the goal in a new way, teaching students during work not to mindlessly copy, but to think, reason, analyze. The author for the first time pays serious attention to drawing from life, indicates the shortest the way to construct an image of any object through simplifying its form in the initial stage.The book will be useful to art teachers in secondary schools, heads of art studios, teachers of drawing, composition in children's art schools and children's art schools, as well as parents who want to introduce their children to the world of beauty.
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CONTENT
VOLUME 1
FROM THE PUBLISHER 5
PREFACE FOR TEACHERS 7
INTRODUCTION 9
1 EXPLANATION OF DIFFERENT KINDS OF LINES 9
2 EQUALITY OF LINES AND DIVIDING THEM INTO PARTS 11
3. ABOUT THE PLUMB LINE. CROSSING LINES AND ORIGIN OF ANGLES 13
4. ABOUT CONNECTING LINES AND COMPOSING FIGURES 16
5 DIVISION OF FIGURES INTO PARTS 20
6. DRAWING RECTILINEAR IMAGES 21
7. ABOUT THE CIRCLE AND ELLIPSE 22
8. DRAWING REGULAR POLYGONS 26
9. DRAWING CURVILINEAR FIGURES 28
10. EXPLAINING THE RULES OF PERSPECTIVE 28
11. DRAWING RECTIMINEAR AND CURVILINEAR PLANES IN PERSPECTIVE 34
12. ABOUT LIGHT AND SHADOWS 38
13.DRAWING LIT SURFACES 40
14.0 BODIES CORRECT 41
15. DRAWING REGULAR BODIES 45
16. DIVISION OF PERSPECTIVE PLANES EVEN AND ODD EQUAL PARTS AND DRAWING VARIOUS FIGURES ON PERSPECTIVE PLANES 46
17. DRAWING COMPLEX BODIES FROM LIFE 50
ILLUSTRATIONS FOR VOLUME 1 63
VOLUME 2
1. ABOUT THE SIZES OF THE HUMAN BODY 73
2. ABOUT THE MAIN POINTS OF THE HUMAN BODY 79
3. BALANCE OF THE HUMAN BODY 95
4. DRAWING HUMAN FIGURES FROM LIFE 114
5. SOME RULES OF PERSPECTIVE. ESSENTIALS WHEN COMING PICTURES 115
6. WRITING PICTURES 126
ILLUSTRATIONS FOR VOLUME 2 143
Sapozhnikov, Andrey Petrovich
Actual State Councilor, Honorary Free Communist of the Imp. Academy of Arts, amateur painter. Genus. in 1795, d. in 1855 on March 17th. While serving in the engineering corps, he visited quite for a long time drawing classes Imp. Academician Arts In 1830, he received the management of Grand Duke Mikhail Pavlovich’s own drawing room, and directed art publications her and in the same year, already an engineer-colonel, he was elected to honorary free fellows of the Academy of Arts. In 1832 he presented the Academy with a print by Kuzen, representing Last Judgment. In gratitude for this, the Academy offered him, as a gift, to choose for himself “one statue or two heads” from those in the Academy. In 1834 S. compiled " Beginner course drawing" and donated it along with samples (models and plasters) to the Academy for distribution to its students during exams. Since 1844, he was the main mentor-observer of drawing and drawing in military educational institutions. S. was at one time known as a designer of paintings for Krylov’s fables (1834), costumes of the Russian guard and army. Taking an active part in all discoveries that facilitate the technical part of the arts, he was one of the first to use galvanoplasty to make copies from engraved boards. Together with F.I. Pryanishnikov, he published “The Old Testament in 86 essays, from drawings by Agin, engraved by K. Afanasyev” (1846) and “Costumes of all nations in lithographic drawings.” S. was also known for his concern for the development of the talents of artists entrusted to his leadership of the Society for the Encouragement of the Arts (of which he was treasurer from the very founding of this society). From S.'s paintings the following are known: "Prometheus" (in full height and at that moment when, chained to a rock, he sees an eagle flying at him) - in academic. museum (1830). “Bacchanalia” is from F.I. Pryanishnikov and a copy from the painting “Battle of Poltava”, located in the engineering department where S. served. From his engraving works the following are known: 1) Grifonage; a large board in the middle with a well-finished head of a goddess in a helmet. 2) 53 pictures, engraved almost with an outline, with strong vodka; They have a book with Dahl’s text: “The Adventures of Christian Khristianovich Violdamur.” Essay by V. Lugansky. 3) Atlas of Zoology, 52 pictures. St. Petersburg 1847 4) 92 outline pictures for Krylov’s fables. St. Petersburg 1834 Ed. Smirdina. 5) 14 lithographed sheets for Olenin’s brochure: “An experience on clothing, weapons, morals, customs and the degree of enlightenment of the Slavs from the time of Trajan and the Russian princes to the invasion of the Tatars. First period.” Lithographed from paintings by F. G. Solntsev. 6) Engraving with a sketch, a full-length Amazon woman; behind my back there is a quiver, in right hand the ax on which the figure is leaning.
Archive Imp. Academician Khud., case No. 155 (1830), No. 65 (1834), No. 91 (1847). - "Collection of materials for the history of Acad. Art.", vol. II-III. - Encyclopedic Dictionaries Gerbel and Toll. - "Russian Archive", 1892, XI, 312. - Rovinsky, "Dictionary of Russian Engravers".
(Polovtsov)
Sapozhnikov, Andrey Petrovich
Amateur painter (1795-1855). Having been promoted to officer in 1811, he then served in the engineering department in various positions until 1844 and was then appointed chief mentor-observer of drawing and drawing in military educational institutions. Having a thorough acquaintance with painting, to study which he attended classes at the Academy of Arts, S. spent his free time writing historical paintings and portraits. He rendered an important service to art with various publications, especially a guide to the study of drawing, which remains to this day the best textbook on this topic. From the Society for the Encouragement of Artists, in which S. was one of the most active members, he was entrusted with supervision over the pensioners of this institution, and many artists who were formed with the support of the society owed their development to a large extent to his care and attention. For these services to art, the Academy of Art. recognized him in 1830 as her honorary. free a companion. In the Academy Museum you can see an example of S.'s painting - the painting "Prometheus Chained to a Rock and Tormented by an Eagle."
(Brockhaus)
Sapozhnikov, Andrey Petrovich
(Sapochnicof); D.S.S; painter-engraver; genus. 1795, d. March 17, 1855; in 1840 the first began to make copies from copper engraved boards by means of electroplating; from 1847 an honorary free fellow of the Academy of Arts; compiled a drawing course; 83 were painted by his order outline drawing from the New Testament by the artist Agin and engraved by K. Afanasyev. His works:
1. Grifonage; a large board (6.4 x 5.11), in the middle of which is a well-finished head of a goddess in a helmet (the entire figure is chest-deep); a hand holding a drawing pen is visible on the left; higher up is a lion's muzzle with a grape leaf. At the bottom it is marked in pencil: “Engraving Sapozhnikov.” Academician arts, book by Utkin.
2-54. 53 pictures, engraved almost with an outline, with strong vodka; with them is a book with Dahl’s text: “The Adventures of Christian Khristianovich Violdamur and his Arshet”; composition by V. Lugansky. With an album of paintings on fifty-three sheets, drawn famous artist... St. Petersburg. 1844"; sheet wide.
55-106. Atlas of Zoology, 52 pictures. St. Petersburg, 1847. Sheet length.
107-198. 92 outline pictures for Krylov’s fables; St. Petersburg, 1834; two volumes; ed. Smirdina.
199-212. 14 lithographed sheets for Olenin’s brochure: “Experience on clothing, weapons, morals, customs and the degree of enlightenment of the Glorious from the time of Trojan and the Russians to the invasion of the Tatars. First period. Letters to the city academician Buesching, or experience in compiling a complete course of History, Archeology and Ethnographies for Pets of the St. Petersburg Academy of Arts; 70 numbered
and 1 unnumbered page" (Ostroglazov, Russian Archive; 1892. November. 312). This book was written by Olenin on the occasion of the order made by Nicholas I to Basin: "to paint a picture of the Baptism of Rus'."
213. In the meeting of E.N. Tevyashov there is a sheet in 4°, an engraving with an outline, a woman (Amazon) in full height, a quiver behind her back, in her right hand an ax on which the figure is leaning. This sheet was purchased from Gennadi’s collection; Signature in pencil at the bottom corner: "Saposchnikow fec".
E.N. Tevyashov also lists the following among Sapozhnikov’s works:
214-220. 7 pictures for the book: “Four fairy tales for my Nadinka.” St. Petersburg 1833
221-225. 5 pictures in the book: "There were also Tales of the Lugansk Cossack 4 hours. St. Petersburg. 1839" and
226. Landscape with an obelisk and a monogram composed of the letters A and C.
(Rovinsky)
Sapozhnikov, Andrey Petrovich
d.s. p., honorary free associate I. A. Khud., amateur painter, writer, treasurer General. encouragement artists from the basics his; genus. 1795, † 17 Mar. 1855
(Polovtsov)
Large biographical encyclopedia. 2009 .
See what “Sapozhnikov, Andrey Petrovich” is in other dictionaries:
Sapozhnikov (Andrey Petrovich) amateur painter (1795-1855). Having been promoted to officer in 1811, he then served in the engineering department in various positions until 1844, and then was appointed chief instructor and supervisor of drawing and painting in ... Biographical Dictionary
- ... Wikipedia
Sapozhnikov Russian and Jewish surname, comes from the word “shoemaker”. Famous bearers: Sapozhnikov, Abram Samuilovich (1923 1998) Hero Soviet Union, Sapozhnikov, Alexey Vasilievich (1868 1935) Russian chemist. Sapozhnikov, ... ... Wikipedia
In 1834, A.P. Sapozhnikov published the aforementioned “Drawing Course”. This was the first textbook for general education institutions compiled by a Russian artist. The textbook was then reprinted many times, its last edition being in 1889.
In the preface to the 1879 edition, the author wrote: “... the purpose for which drawing classes are established in most educational institutions is not to make artists out of students, but to develop in them the ability to depict visible objects on paper. objects are clear and correct"2.
A.P. Sapozhnikov’s drawing course begins with an introduction to various lines, then introduces angles, after which he begins to master various geometric shapes. Before you start drawing three-dimensional objects.
Sapozhnikov proposes to demonstrate to students the laws of perspective using special models, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an introduction to the laws of chiaroscuro, also by showing models. When drawing simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks are gradually complicated up to the point of drawing plaster heads. To show the structure of a human head, the author suggests using a wire model he specially made, which should always be next to the plaster head, in a similar rotation and position. The second part of the “Drawing Course” is devoted to drawing the human figure, as well as some rules of composition.
The value of Sapozhnikov’s method lies in the fact that it is based on drawing from life, and this is not just copying nature, but analyzing the form. Sapozhnikov set as his goal to teach those drawing from life to think, analyze, and reason.
This goal was served by a series of methodological models made of wire and cardboard, which helped students more clearly understand the structure of the shapes of objects, their perspective modification and basic design. To demonstrate the phenomena of perspective, Sapozhnikov proposed using special stands and models, and to demonstrate the laws of chiaroscuro - also special models.
The new method proposed by Sapozhnikov has found wide application not only in secondary schools, but also in special art educational institutions. The success of the new teaching method was due to the fact that it clearly and simply revealed the most difficult provisions, related to the construction of a three-dimensional image on a plane.
P. Markov wrote: “What I. D. Preisler’s book was for our great-grandfathers and grandfathers, for our time the drawing courses of the late Sapozhnikov represent, with the talent of an inventive draftsman-artist combining enlightened concepts about art and its requirements... In the circles of Russian artists, Sapozhnikov’s works are extremely famous, and it is rare among those who attended classes at the Academy of Arts that he did not keep and does not keep the books he compiled as reference books, which have not yet been replaced by anything in Russian.”1
The method of teaching drawing proposed by Sapozhnikov revolutionized educational work. Before the publication of his book, copying from originals reigned in secondary schools. Drawing from life was almost never taught, and no one seriously thought about the method of revealing individual provisions of a realistic drawing.
Sapozhnikov pointed out that the best way to help a student correctly construct an image of the shape of an object is a method of simplifying it in the initial stage of drawing. First, the student must determine the geometric basis of the object’s shape, and then proceed to refinement. “One of these methods is the method of decomposing any of the visible objects into the simplest geometric figures, such as triangles, quadrangles and the like,” pointed out Sapozhnikov. “There is no animal, bird, insect, flower, plant, the shapes of which in general could not to be bound by said figures; There is almost no case where these figures would not serve as a framework for describing about latest details contour of a given object"1.
Sapozhnikov recommends that the teacher not so much correct the student’s drawing as explain his mistakes verbally. It is necessary that students, following oral instructions and answering the teacher’s guiding questions, can, according to their own considerations, correctly draw each of the new models put before them. Methodological models are used to achieve this goal.
Thus, Sapozhnikov’s models are used not for drawing from them, as we saw with the Dupuis brothers, but for revealing the laws of the structure of nature. They are located next to nature and help the student understand the structural features of the form. Thus, when drawing a plaster head, Sapozhnikov suggests using a wire model: “Having been placed next to and in the same turn with plaster head, serving as a model, it can explain the perspective change of the parts that make it up.”
All experts and critics in Russia gave the highest assessment to Sapozhnikov’s method, but in methodological literature his name was not properly noted. Much was said and written about the method of the Dupuy brothers, it was indicated that their teaching method was “the newest and best,” but there was not a word about A.P. Sapozhnikov in the methodological literature. Meanwhile, the Sapozhnikov method had much in common with the Dupuis method and was published earlier (the Sapozhnikov method - in 1834, and the Dupuis method - in 1842).
The positive aspects of A.P. Sapozhnikov’s teaching methods have not lost their significance in our time. Thus, in the book by A. M. Solovyov, G. B. Smirnov and E. S. Alekseeva “ Training drawing"(M., 1953) there are many illustrations from Sapozhnikov's "Drawing Course".
“Drawing” as an academic subject begins its history in 1804, although, strictly speaking, drawing classes were taught in some educational institutions earlier. So, in cadet corps they were introduced in 1732, in gymnasiums at the St. Petersburg Academy of Sciences, Moscow and Kazan universities - from the middle of the 18th century. However, in cadet corps these classes were part of the military training of students, and the named gymnasiums had not yet become a type educational institution, each of them worked according to its own curriculum.
Time since the beginning of the 19th century. Until his 60s, it was characterized by the decomposition of the feudal-serf system of Russia and, although slow, the development of the capitalist structure. The need for reforms was felt already at the beginning of the reign of Alexander I. Various commissions developed reform projects, including in the field of public education.
According to the “Charter of Educational Institutions” approved by the tsar (1804), parish, district schools and gymnasiums were created. The curriculum of these educational institutions (except for parochial schools) provided for the teaching of drawing. In two-year district schools it was taught in both classes, for which 4 lessons per week were allocated in each. In gymnasiums that had a four-year course, drawing was given in all grades for the first two-hour lesson per week; For classes, students were united: the first class with the second, the third with the fourth. In terms of content and methods, drawing classes at that time did not differ from teaching in the lower grades of an art school, where the main emphasis in the methods of teaching fine art was based on copying (it is known that children aged 8-9 years old entered the school at the Academy of Arts). The methodological basis for copying was I. Preisler’s book “Fundamental Rules or a Brief Guide to Drawing Art,” published in Russian translation in 1795.
According to Preysler's book, drawing students were first introduced to drawing straight and curved lines. Students drew vases and simple curvilinear ornaments from engravings. Then parts of the human body were drawn from the engravings, and the correctness of the drawing was checked by means of vertical and horizontal lines. Finally, also from the samples, a whole human figure was drawn.
Thus, training in the copying system consisted of redrawing samples - engravings, called "originals" in training. They depicted ornaments, architectural details, ancient sculptures or parts thereof.
The essence of a new understanding of the goals and objectives of drawing in a secondary school was determined by the outstanding Russian methodologist of the first half of the 19th century V. A.P. Sapozhnikov as follows: “The goal... is to develop the ability to depict visible objects on paper clearly and correctly, so that, if necessary, students can easily draw from life a useful machine, a necessary tool, an interesting view of the area or other subject... Moreover, the ability to draw helps to judge more correctly the fine arts, which give the noblest pleasure to an educated person.”
Along with an awareness of the special tasks of drawing as academic subject Schools in the nascent Russian pedagogy began to search for ways to change the content and methods of teaching drawing. They gave rise to new system training, which already in the 30s of the XIX century. was thoroughly developed by the same A.P. Sapozhnikov. Outwardly, it differed little from the system that was proposed somewhat earlier by Pestalozzi in early XIX c., in the West. This sometimes gave reason to qualify the work of A.P. Sapozhnikov as a simple borrowing of the Pestalozzi system. In reality, the question of the relationship between the works of one and the other cannot be so simply resolved.
A.P. Sapozhnikov really knew and highly valued Pestalozzi’s views on teaching drawing, as evidenced by his review: “Pestalozzi and Lancaster will remain true benefactors of youth, facilitating the means of learning: and although the method of the first has been abandoned, no less the direction, they the indicated has borne fruit." Based on Pestalozzi's ideas about replacing copying from originals with drawing geometric figures and bodies, Sapozhnikov, however, creatively reworked his system, changing its focus. Unlike Pestalozzi, Sapozhnikov proceeded from the specifics of drawing from life. For him, the depiction of geometric figures was a means of teaching children visual skills, the use of which is useful in various human activities. The practical orientation of training also determined the nature of the method developed by Sapozhnikov for observing perspective phenomena by students; which he supported with images of original models for drawing from life and demonstrating in class.
Drawing course geometric shapes Sapozhnikov thought of it as preparation for drawing objects of the surrounding reality. The transition to drawing these objects was the depiction of combinations of geometric bodies in the form of houses, towers, stairs, etc.
In developing the teaching methodology, Sapozhnikov proceeded from maintaining a close connection between the development of the student’s visual perception and equipping him with the necessary knowledge and practical skills. So, speaking about the study of perspective, he pointed out: “The study of the rules of perspective, according to the method also accepted everywhere, based on a drawing without life, is too long, confusing and cannot be taught in boarding schools and schools... Sapozhnikov developed a harmonious sequence of teaching drawing , which determined the order of passing the educational material as follows:
1. Drawing lines.
2. Drawing correct rectilinear figures.
3. Drawing regular curvilinear figures.
4. Drawing planes going into depth (first, flat rectangular shapes were drawn, then a circle).
5. Drawing geometric bodies limited by planes - cube, prism, pyramid.
6. Drawing a cylinder, cone, ball.
7. Drawing combinations of geometric bodies, composed in such a way that they resemble objects of reality (see Table 3).
8. Mastering the technique of chiaroscuro.
The new system of teaching drawing, developed by A.P. Sapozhnikov, made it possible to consistently teach drawing, isolating learning objectives and making full use of cool uniform classes. In the 30s of the XIX century. it was the most advanced system of teaching drawing not only in Russia, but also in the West, where the combination of copying and geometric systems dominated in the works of Pestalozzi’s students and followers.
