Conversation with senior preschool children “Who does the portrait tell about. Methodology for introducing portraits to preschool children theory
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Methods for teaching portraiture children preschool age
portrait preschooler learning image
Introduction
Conclusion
Bibliography
Introduction
"Drawing a Man" is central theme in fine arts. And this is understandable: man, his work, his activity transforming nature and the world have always determined the social, social - historical meaning works visual arts.
It is no coincidence that in the very first drawings of children, a person occupies central place. Here is your beloved mother in a festive outfit, and grandfather, and sister, and dad, and favorite fairy-tale characters.
However, as a rule, the image of a person in children’s drawings is characterized by monotony, primitiveness, and schematism, and this is not accidental, because a person is the most complex object images and significant artistic experience in order to depict it competently and expressively.
In turn, the image of a person, gradually becoming more complex, occupies a place in children's drawings throughout preschool childhood. The quantity and quality of children’s images of people directly depends on how the child (especially of older preschool age) knows how to do this. Often, a child, dissatisfied that his image is not done at the proper level, may simply refuse to draw human faces.
Therefore, it is important to purposefully teach children how to depict a person’s face in accordance with their age and individual abilities.
In practice, many teachers give up and often refuse to draw human faces with preschoolers, not realizing that this topic is very broad and interesting.
Renaissance artists first thought about the question of how to draw a person. The great German Renaissance artist Albrecht Durer left theoretical works that are of great value in the field of teaching methods. Johann Wolfgang Goethe expressed many valuable thoughts about the technique of drawing a person. In domestic preschool pedagogy, the problem of preschoolers’ depiction of the human figure was first paid attention to by N.P. Sakulina, T.G. Kazakova, N.N. Rostovtsev, N.A. Goryaeva, etc.
Teaching preschool children how to depict a person’s face is a complex and painstaking process, requiring the teacher to be able to take into account a number of requirements in their work and create the necessary conditions for children’s creativity.
and its topic: “Methods of teaching portraits of preschool children.”
The goal is to identify and teach portrait images during development in preschool children.
Object: image of a portrait for drawing in preschool age.
Item: methodological training image of a portrait of preschool children.
To solve the following problems:
1. Reveal both portraits in the lives of preschoolers;
2. Reveal the methodology for teaching portraiture during initial acquaintance using the example of the middle group;
3. Consider the concept of portrait, its types and principles of development of this genre;
4. Methodically develop a lesson for teaching portrait images to preschool children.
For solutions the following tasks: study, analysis and - and literature; studying drawing in preschool institutions; highlighting portraiture as a genre of painting, studying the type, it.
The practical purpose is for teaching materials on portrait painting in preschool institutions.
Structure. from the introduction, three chapters, conclusion, bibliography.
Chapter 1. Theoretical foundations of teaching portraits to preschool children
1.1 Familiarization of preschoolers with portrait painting
Portraiture is one of the most difficult and significant genres in the fine arts. Portrait is a complex genre of painting. Understanding it requires children to have a certain social experience, knowledge both about the person himself, his emotional and moral manifestations, relationships with society and expressing this verbally (in speech) and non-verbally (facial expressions, pantomime), and about the visual arts, his language, ways of creating artistic images. Therefore, long-term work with children is required, the content of which will include two areas.
The first is the formation of ideas about a person, his feelings and emotions, moral attitude towards many phenomena of life, expressed internally and externally.
The second direction is the gradual formation in children of an understanding of the language of the pictorial image of a portrait. The first direction will be carried out in different classes, in games, everyday life, and everyday activities. The second is in classes on familiarization with portraits and in artistic activities.
Each lesson should be devoted to one portrait, but at the beginning of the lesson it is worth looking through in sequence those portraits that the children met in previous lessons.
When getting acquainted with the portrait, the child has the opportunity to feel like either a peasant boy who has fallen asleep in nature, or a cheerful soldier, or a mischievous “Dragonfly,” or children rushing to a masquerade party. The ability to put yourself in the shoes of another, to feel their joy, surprise or grief, generates a sense of interest, ownership and responsibility. Living and experiencing many lives creates the possibility of empathy and understanding.
By getting to know another, the child gets to know himself more deeply; Through the experience of feelings and relationships of other people, he learns to recognize, clarify and correct his emotions and feelings.
Thus, children develop and strengthen the ability to understand the people around them, showing them kindness, a desire for communication, interaction, sensitivity and caring.
Thanks to acquaintance with the portrait, the child becomes familiar with the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, their ancestors, class and national relations in society, about the professions, life and appearance of people of different times, their relationships, moral norms and rules. An important task of aesthetic education is to search effective techniques teaching children to understand originality expressive means different types of art.
Research by psychologists allows us to establish that portraiture as a genre of painting is accessible aesthetic perception children from 4 years old. At this age, they emotionally respond to the expressive image of the portrait (smile, laugh, stroke it, etc.), show positive interest in it, use personal experience, by association with which they come up with situations close to their personal life. Getting carried away general content portrait, children at this age cannot yet fully explain the preference for choosing one or another portrait. However, some means of expression are already accessible to their understanding.
Thus, in determining the emotional state of a person in a portrait, the main thing for them is the general facial expression, less often - the eyes. Children are able to perceive and name the emotions depicted in the portrait - “smiling”, “laughing”, “crying”. At a primitive level, children also have an aesthetic assessment of the portrait, but it is not reasoned. Children often call unimportant details such as clothes, hair, lace, etc. “beautiful.” They do not yet have knowledge about portraiture as a genre of painting and its means of expression.
Children 5 years old also show positive interest in portraits. They respond emotionally to portraits of people whose images are not only close to their personal experience, but also known to them from literature and cinema. Children prefer people with a positive emotional state, although they also empathize and sympathize with sadness.
A five-year-old child already pays attention to such means of expression as, for example, drawing. When determining the emotional state, he sees not only the face and its facial expressions (movement of the eyebrows, expression of the eyes, lips), but also the posture. Five-year-old children are already developing a basic understanding of color as a means of expression. They can give an aesthetic assessment to a portrait, although their argumentation is poor and often insignificant.
With children 6-7 years old, except for the above, you need to discuss the author’s attitude towards his model, psychological and social characteristics model, compare this portrait with the paintings examined earlier (similarities and differences), including considering and comparing the artistic means used by the author.
For children preschool age, the most suitable for the harmonious perception of painting are female and male portraits, as well as portraits of different ages (children, youth, adults and elderly people).
Artists do not paint portraits specifically for children, so selecting them for use in the pedagogical process is quite difficult.
Selection principles.
Firstly, these must be highly artistic works both in content and in means of expression.
Secondly, the artistic image of the portrait in terms of content and form of the image should be understandable to children and close to the level of their emotional experiences. You should select portraits with a clearly presented expression of emotional states, shown through the relationship of facial expressions, gestures, and postures.
Thirdly, you should select portraits that are diverse in type, means and manner of depiction.
Stages of work.
At the first stage of working with preschool children, it is necessary to introduce them to portraiture as a genre of painting, showing its difference from other genres (still life, landscape). Children look at a portrait - a face with a pronounced expression (for example, laughs, rejoices, is surprised). Then a chest portrait can be offered for consideration, where, along with the emotional state expressed on the face (facial expressions), hands are presented in some movement or gesture.
At the next stage, portraits can be selected that show the relationship between facial expressions, hand gestures, poses and where clothing emphasizes social role person. A more difficult stage will be to familiarize children with the portrait, where environment brings a certain addition to the image, contributes to a deeper understanding of its idea.
The peculiar distinctive features of portraits are that the portrait must convincingly and truthfully convey appearance depicted person, to express the character traits of a person and his state of mind, determined by the artist’s intention, the portrait reflects the general typical features of an entire group of people of the era to which the person being portrayed belongs.
Despite the fact that the portrait genre is difficult for preschool children to perceive, work on introducing Russian genre painting in kindergarten has shown that preschoolers show interest in portraits of people and try to understand the mood conveyed by the artist by facial expressions and hands
Classes to familiarize preschoolers with portrait painting are structured somewhat differently than with genre and landscape painting, both in structure and in the methods of their implementation. This is due to the peculiarity of the portrait genre.
To teach to understand and feel works of portraiture, it is necessary to help children master the features figurative language this genre, subject to systematic meetings with works of portraiture and organized conversations.
Conversations about portraiture are based on three groups of questions.
Questions that encourage children to have a holistic perception, revealing the content side of the picture: “Who is depicted? What can you tell about him (her)? Who (what) was noticed first in the picture? What else is depicted? What did these objects (background) tell about the person? ". When looking at a portrait, you can ask questions that go beyond its content: “What is the girl thinking? Where has she been? What will she do?” Such questions complement storyline, help to understand emotional condition person, develop the child’s imagination.
Questions that allow you to understand the emotional state, mood, feelings of the person depicted: “What did the person’s face tell? Why did the artist depict him like that? What do the eyes say? What “secret” in the person was revealed by the hand, clothing, detail?”
Questions that help children identify means of expression (color, color, composition: movement, pose, location, background, detail, light and shade, etc.): “Why is the tone of the picture? Why is one part of the face light and the other dark? Why is the artist depicted a person in such a pose?"
By asking questions, the teacher reveals to the children the close connection between the content and the means of expression: muted, dark tones - in paintings with sad content, bright, saturated ones - in joyful ones, color contrasts are used to highlight the main thing. During the conversation, explanations, comparisons, methods of emphasizing details, the method of adequate emotions, the method of reviving emotions with the help of literary and song images, the method of “entering” into the picture, the method of musical accompaniment, and gaming techniques are widely used.
Explanation is widely used during the first conversations to clarify children's ideas.
Comparison. This technique promotes the development of mental actions: analysis, synthesis, inference. When comparing works of different moods, children pay attention to the dependence of the means of expression on the content of the overall mood of the picture.
Accentuation of details. The essence: when perceiving a portrait, the entire image is covered with a sheet of paper, leaving only the eyes or some other detail. This helps to emphasize the expressiveness of an important part of the portrait, focus attention on it, and help children establish the relationship between the part and the whole. Questions asked of children help reveal the meaning of the paintings.
The method of adequate emotions is aimed at evoking in children feelings and moods that correspond to the state of the person depicted in the picture.
Using the technique of “entering” the picture, children are asked to imagine themselves in the place of the person depicted in the portrait. This enlivens perception, awakens the imagination, evokes feelings of empathy and involvement.
Musical accompaniment method. When viewing a portrait, music often sounds, the nature of which corresponds to the content and mood of the picture. This facilitates the process of perception and makes it deeper. Music can precede the perception of a portrait or be the background for a story between the teacher and children about the person depicted.
Game techniques help to arouse interest in the work, focus children’s attention on the part of the portrait necessary for perception (“Make a guess about your hand (eyes, clothes, etc.), and we will guess”; “Determine which portrait this music suits "; "Come up with your own name for the portrait"; "Convey in motion the position of the hand (head, etc.) of the person depicted in the picture.)
The final conversation on viewing the portrait is varied. It may include the teacher’s story about his attitude to the portrait, reading relevant poems, singing songs, and children expressing their opinion about the picture, about the thoughts and feelings that arose in connection with this.
Thanks to familiarity with the portrait, the child becomes familiar with the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, his ancestors, class and national relations in society, the professions, life and appearance of people of different times , their relationships, moral norms and rules.
Thus, the portrait genre of painting reveals the world of feelings and people’s lives. This is extremely important for children to understand the emotional sphere of people and human relationships. In the process of familiarizing themselves with a portrait, children gradually develop an aesthetic appreciation of the person whose image is conveyed by the artist, graphic artist, or sculptor.
Therefore, in preschool age it is necessary to make maximum use of the enormous possibilities of fine art, which affects inner world child, expands his emotional experience, teaches him to understand the aesthetic richness of life.
1.2 First acquaintance with a portrait (using the example of a middle group of preschoolers)
IN middle group Children are introduced to portraiture as a genre of painting for the first time. The main tasks of the teacher in this process are:
Arouse in children interest in the portrait, a desire to examine it carefully; emotional response to the mood of the depicted people; comprehend emotions and feelings, attitude towards what is perceived, feel the joy of the artist’s skill and talent; correlate what is perceived with one’s own feelings and experience, express one’s experiences and sensations.
- Lead children to understand that in a pictorial portrait the artist depicts a real, specific person (or group of people), expressing his feelings and attitudes towards him;
Without destroying the holistic artistic image, introduce children to some of the means of expressiveness of a pictorial portrait, thereby deepening their understanding of the meaning of the artistic image;
Teach children to peer into the face of the person depicted, to see his internal emotional state through the external expression of the eyes, eyebrows, lips, that is, to “read” the drawing, since it is the face that clearly expresses the person’s mental state, his individuality;
Draw children's attention to the expressive properties of gesture (movements of arms, legs) and posture, their unity with facial expression, as well as with the coloring of the portrait, which helps to understand the mood of the person depicted and the artist’s attitude towards him;
Lead children to see some elements of the portrait composition: canvas format, face portrait, bust portrait, portrait with a simple pose and hand gestures.
- At a level accessible to children, form an idea of a portrait as special genre painting and some of its types: (female, male, different ages), about the language of painting, the sequence of viewing a portrait; enrich children's vocabulary with emotional-aesthetic, art-historical terms, figurative figures of speech that children can use in their judgments; develop a sense of connection picturesque images with images of other arts according to the emotional mood reflected in them.
Acquaintance with portrait painting in this group should begin when children already have some ideas about painting and its genres such as still life and landscape. Usually this is the second half of the year.
IN Everyday life The teacher develops in children attention, observation, understanding and awareness of manifestations of emotions in peers and adults (external expression of states). For example, Natasha entered the group, she is in an elegant dress, laughing, joyful. The teacher says to the children: “Oh, how cheerful and joyful Natasha is today, she’s literally all glowing! And her dress is beautiful!” Or he draws the attention of several children to Sasha: “Look at Sasha, someone offended him. He’s about to cry! Look at his drooping shoulders and head, and how offended his face is: his eyebrows are raised at the corners, and the tips of his lips are drooping. Let’s come quickly.” to him, we will take pity on him and console him!”
The teacher constantly draws the children’s attention to the emotional state of adults - parents, teachers, assistant teachers. In addition, he clearly conveys his feelings to children, clearly showing them externally: both in speech, intonation, and in facial expressions, pantomime (gestures, posture, movements). Children should be taught to understand sign language, facial expressions, and posture expression.
A good teacher often uses gestures and facial expressions instead of a stream of words. This teaches children to look at the adult from time to time, his reaction to their actions, and develops attentiveness and observation.
So, instead of the word “you can’t,” you can wag your finger, shake your head, spread your arms (“Well, well!”). "Come here!" - invite by hand. "Be quiet!" - finger to lips. Approving gestures: stroking, applause. You should show the children other gestures, telling them what they express (sadness, resentment, fear, thoughtfulness, etc.). You can conduct special classes: “When we are happy, when we are sad”, “What does “frightened”, “surprised” mean?”, “Guess what I’m saying” (using facial expressions and pantomime).
The purpose of such classes is to lead children to understand human emotional states and their external expression. When conducting music classes or classes on speech development, you should pay attention to the emotionality of the mood, the feeling that is expressed by a work or a character in a story or fairy tale.
It is good to use imitation-figurative games, dramatization games, in which children practice characteristic gestures, poses, and facial expressions. For example, show how a cunning fox walks, how a frightened bunny jumps, how a clumsy bear waddles through the bushes. Watching filmstrips, films and illustrations for fairy tales about animals and humans can help here. After reading a fairy tale, it’s good to look at the illustrations about its heroes. How an artist drew an evil wolf, a kind owl, etc. Artistic and educational games can also be used for the same purpose.
For example, “Who laughs, who cries” or “Who is happy, who is sad”, “Remove the extra one” (children compare the vivid emotional states of people depicted on the cards and sort them into groups according to their commonality).
Children really like games that require them to guess and understand a gesture, movement, or pose. For example, the games “We won’t tell you where we were, but we’ll show you what we did”, “Tell me without words”, “Guess who is doing what”.
Thus, we found out that there are a large number of means and methods for introducing and teaching portraiture to the middle group of preschoolers. Next, we will consider the concept of portrait, its genres and principles of development.
Chapter 2. The concept of a portrait, its genres and principles of development
What is a portrait (portrait - older French - portraire - means to depict)?
A portrait is a genre of fine art dedicated to the depiction of a specific person or group of people - an outwardly individually similar representation of a person on canvas or paper, with the aim of presenting him to others, showing his character, inner world, life values depicted.
Drawing a person's face in a portrait is the most difficult direction in fine art. The artist must discover the main accents of the personality, emphasize characteristic features, the emotionality of a person and reveal the spiritual disposition of the person being portrayed.
Depending on the size of the painting, the portrait can be of different types: chest-length, waist-length, knee-length and full-length.
Portrait pose: from the face, three-quarter turn in any direction and in profile.
A creative portrait is a creative painting, a special genre of painting related to the creation of something new in the depiction of the human personality.
Portrait basics. The main and most important thing in a portrait is the person’s face, on which portrait painters work most of the time, trying to convey as accurately as possible the similarity and character, color shades of the head, gesture and facial expressions related to a specific character, the artist finds features of greater vitality and naturalness in the depiction of the face, while the remaining details of the portrait, be it the background clothes, or the imprinting of details of a certain surroundings on the canvas, are considered more conventional, since the similarity does not depend on this.
Similarity in a portrait plays a major and dominant role; if the similarity is very poor, it outweighs all the other positive advantages of a classic portrait; as a result, it can be a beautiful picture in detail and color, but a faceless one.
Portrait genres are divided into: chamber, intimate ceremonial portraits, and also self-portraits, where, as a rule, artists depict themselves. The portrait genre in fine art is a natural independent genre of painting that does not require specific justification.
Portrait subgenres: the boundaries of the portrait genre reflect various directions interconnected with elements of other genres. For example, historical portrait: an image of a person in clothes of past centuries, created from the imagination and from available materials, memories of that time. The painting is a portrait - the character is presented surrounded by nature, architecture with a plot of the world of things and household items. Costume portrait of a character depicted in historical theatrical costumes, beautiful to perceive and various attributes interconnected with the plot.
Basic principles of development. Reproduction of nature in portraiture has been the basic principle of the portrait genre for centuries. But in different periods there were different interpretations of the concept of “similarity”. The process of imitating nature and translating it into an artistic image each time had its own characteristics, which depended on the general ideological and aesthetic prerequisites of the period, as well as on specific creative practice - creative method, style and means of artistic expression.
The origin of portrait art dates back to ancient times. The first significant examples of portraiture are found in ancient Eastern, mainly ancient Egyptian, sculpture. (The surviving images of persons of the previous period - the art of Mesopotamia, are impersonal images of deities and do not bear individual features).
The purpose of the portrait in Egyptian art was determined by cult, religious and magical tasks. There was a need to “duplicate” the model (that is, the portrait was a double of the deceased in the afterlife).
One of the roots of such realism was technique: the Roman portrait developed from death masks, which were usually removed from the dead and kept at the home altar (lararium) along with figurines of lares and penates. They were made from wax and were called imagines. In the event of the death of a member of the family, masks of ancestors were carried in the funeral procession to emphasize the antiquity of the aristocratic family. (This was a rudiment of the cult of ancestors).
In addition to wax masks, bronze, marble and terracotta busts of ancestors were kept in the lararium. Cast masks were made directly from the faces of the deceased and then processed to make them more life-like. This led to excellent knowledge by Roman masters of the features of the muscles of the human face and its facial expressions, which entailed excellent results already with normal posing. The roots of such a funerary cult were taken over by the Romans from the Etruscans, among whom portraiture was also extremely developed.
Fracture in portrait art, which again came to prominence, came during the Renaissance. It was associated with a change in the ideology of the era. Renaissance man was full of humanistic realism, that is, he loosened the bonds of religion and believed in the power of the individual, began to consider himself the measure of all things - and therefore he came to the fore in art.
Renaissance portraitists largely idealized the model, but at the same time they certainly tried to comprehend its essence. "Depicting his hero in a certain earthly environment, the artist freely positioned the model in space. And the model increasingly appeared not against a conventional, surreal background, as was the case in medieval art, but in unity with a realistically interpreted interior or landscape, often in direct "live communication with fictional (mythological and evangelical) characters. In monumental paintings, among other characters, the artist also often depicts himself."
Renaissance anthropocentrism is especially evident in the portraiture of the High Renaissance masters. Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto further deepen the content of portrait images, endowing them with the power of intellect, a sense of personal freedom and spiritual harmony, and significantly updating the means of artistic expression (the aerial perspective of Leonardo da Vinci, the coloristic discoveries of Titian).
The most famous portrait in the world, “Mona Lisa” by da Vinci, was painted during this era.
The first works of Russian portraiture of the 16th-17th centuries were parsuna. "Parsuna" means the same as "person", that is, simply a portrait. The parsuna combines the features and techniques of traditional ancient Russian icon painting and Western European secular painting from life. Representatives of the Russian Parsuna - Simon Ushakov, Karp Zolotarev and others. - portrait painters of the royal court.
A breakthrough in the portrait genre in Russia, as in many other industries, happened in the time of Peter the Great. Peter I both invited foreign masters and contributed to the training of domestic ones. At the end of ser. XVIII century it is already possible to list the original and talented craftsmen. These are Ivan Nikitin, Alexey Matveev, Alexey Antropov, Ivan Argunov, Ivan Vishnyakov.
Their works are distinguished by skill and accuracy in conveying appearance, although they have not reached complete perfection. “From the mid-17th to the mid-18th centuries, portraits were the property of mainly court circles - be it a royal memorial “parsuna”, a ceremonial imperial portrait, or images of people one way or another close to the supreme power. Only from the middle of the 18th century did the portrait “lower” among the masses of the ordinary landed nobility, under the influence of enlightenment, still rare images of peasants and merchants appear, portraits of cultural figures are created."
By the end of the 18th century, Russian portraits were equal in quality to contemporary world examples. Its representatives are Fyodor Rokotov, Dmitry Levitsky, Vladimir Borovikovsky, and in the engraving - Fedot Shubin. Examples of the portrait genre in line with realism are created by Itinerant artists. Vasily Perov and Ivan Kramskoy, Nikolai Ge, Nikolai Yaroshenko and especially Ilya Repin.
Portraits of representatives of the intelligentsia of this era are widely known. “Russian portrait painters often turn to type portraits, the heroes of which are nameless representatives of both the people and the revolutionary intelligentsia, create examples of emphatically revealing portraits, and widely introduce portraiture into everyday and historical genres (paintings by V. I. Surikov).
Thus, having examined the concept, genres and stages of development of a portrait, we can propose in the next chapter Methodological development classes for teaching portraits of children, which can be carried out in any preschool institution.
Chapter 3. Methodological development of a lesson on teaching portraits of preschool children
Summary of a drawing lesson in the senior group "Portrait of a Mother"
Goal: To consolidate children’s knowledge about the portrait genre. Make children want to draw a portrait of their mother, to convey the features of her appearance (eye color, hair color) in the drawing. Continue to learn how to position parts of the face correctly. Cultivate love and affection for mother.
Vocabulary work: Portrait, busty, cheerful, friendly, long-haired, chubby, black-browed, big-eyed.
Material: Poster with a female bust portrait, chalk. Children have a sheet of paper (A-4), a simple pencil, and colored pencils.
Preliminary work: Looking at different portraits, drawing with a simple pencil portraits.
Didactic games: "Which one", "Say kindly."
Progress of the lesson:
Guys, today we will draw a portrait of your mother, your most beloved person.
Like turquoise, mother's eyes -
Clear and pure, kind, radiant.
It’s like stars are all around, and they’re talking to me.
Mom is my beloved friend!
Before drawing, my children and I remember what shape is the head? (we circle the head with our fingers), remember where a person’s eyes are located and what shape are they? (the eyes are located below the forehead and they are oval in shape with sharp corners).
I draw an oval with chalk on the board and his eyes in the middle. Then I explain to the children that they need to draw only the tip of the nose, and from the tip of the nose to the end of the face there are lips. Let me remind you that the neck is narrower than the face, and the shoulders are wider than the head.
Didactic game "Which one?"
If a mother enjoys life, what is she like? - cheerful;
If a mother wishes well, then she is benevolent;
If mom has long hair, she is long-haired;
If mom round face- chubby;
If mom big eyes- big-eyed;
If the mother has black eyebrows, she is black-browed;
Didactic game "Say kindly."
Mom - mom, nose - nose, lips - lips, eyes - eyes, eyebrows - eyebrows, cheek - cheeks, forehead - forehead.
Now, guys, remember mom’s eyes, mom’s hair color, mom’s look, mom’s smile, mom’s favorite beads and start drawing. A children's song about "Baby Mammoth" is playing.
Who is at a loss, I provide assistance.
At the end of the lesson, I display all the children’s drawings on the board and the children analyze their drawings.
Conclusion
Having studied methodological literature and the latest modern innovations in the field visual arts, we came to the conclusion that in modern methods of teaching fine arts, tasks are defined that aim teachers working with preschool children to carry out certain work on teaching children to depict the human world and familiarize themselves with the genre of portraiture in art.
It should be noted that the first and indispensable condition for the effectiveness of teaching portrait drawing in preschool age is systematic work using a variety of techniques.
The key to successful work on the expressiveness of the human face is children’s knowledge of the world around them and the creation of conditions for independent artistic activity.
The work of teaching children to draw begins with the development of manual skills, including drawing techniques, form-building movements, generalized methods of action and regulation of visual movements. Learning to draw a portrait begins with drawing the head.
In order to give children a full understanding of the portrait, without overloading the child and maintaining his interest in classes, it is necessary to competently organize the pedagogical process:
1. Conduct classes in small subgroups.
2. Children are very different: these are gifted children, children with good visual abilities and children who require special support and care. And an individual approach and creating a situation for the child’s success in the classroom, which in the future helps him to freely express his thoughts and feelings, is very important. A smile, a kind word, praise and a feasible task set before a child brings liberation, self-confidence and helps to express creativity.
3. It is important to change types of activities during classes, i.e. alternating mental and muscular stress.
4. Maximum use of game stories helps to maintain interest throughout the lesson.
Another necessary condition is to establish a trusting relationship with parents, and, if possible, involve parents in the creative and educational process.
As a result of systematic and systematic work, children will have a need to communicate with beauty when becoming familiar with the fine arts, they will have the desire and ability to accurately and expressively depict a person’s face in visual activities, their self-esteem will increase, and they will have confidence in their abilities. Painstaking, persistent work will certainly yield positive results.
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Hello, Dear friends! My name is Zhenya Yasnaya and today I want to talk to you about how to introduce art to children.
I'll start by making a small disclaimer. The fact is that the concept of Art is very multifaceted. It surrounds us everywhere in life and is fraught with many types - here there is music, theater, cinema, literature, and others. I will talk about introducing children to fine views art(graphics, painting, sculpture), and a little - architecture.
But even having narrowed the topic, we are left with a huge field for activity, which is difficult to study deeply within the framework of one seminar. Therefore, I will try to tell you about some general directions and paths, moving along which you yourself will be able to choose and come up with various ways and methods of achieving the desired goal.
So, let's start with the favorite question of many parents - at what age should you start introducing art to children?. My answer is either! The main thing is to start!)) But seriously, you can start from birth. Or even before. It will be very useful for the expectant mother to go to art gallery, look through art albums - there are positive emotions, communication with beauty, and maybe even the discovery of something new for yourself.
Starting to get acquainted with art from birth does not mean, of course, immediately starting to tell the biographies of artists or the meaning of paintings. This is, first of all, the so-called “education of the eye”, i.e. surrounding the baby with works of art (of course, within reasonable limits)). So that already in childhood the child’s eye is gradually educated on the best examples of fine art, good taste is developed from childhood.
EXHIBITIONS OF REPRODUCTIONS
From the moment you are born, display art reproductions on your walls at home. Choose a format that is not small (at least A4). Reproductions can be printed (only the quality must be good), or you can purchase ready-made ones (now sold in folders) or art calendars.
At first, it is better to choose images in paintings that are understandable, large, and sufficiently contrasting. While walking around the house with your baby, periodically draw his attention to the picture, tell him what is depicted on it: “Look, what a girl!” or “Look, the flowers are colorful. How beautiful!”, “And this is a forest. The trees are rustling in the forest: Shhhh!”
From simply looking at reproductions hanging on the wall, you can gradually (as you grow older) move on to looking at art albums. You don't need to show too much at one time. Focus on your baby's interest. By the way, one of the types of graphic art is book illustration. That’s why it’s so important to have children’s books at home from recognized masters of this art form. This also cultivates taste and eye from childhood, instilling a craving for beauty. Suteev, Vasnetsov, Chizhikov, Rachev, Vladimirsky, Konashevich - these are just a very small part of the illustrators whose works you can safely show to your kids. (About some recognized masters I talk about book illustration in my blog “Dangling Legs”). You can also read on “Mom Blogs,” dedicated to book illustration.
But while showing albums, don’t cancel exhibitions! They can complement each other perfectly. It’s just that as the child grows up, they can be complicated, made thematic, and new reproductions added. It is especially good to associate such thematic exhibitions with the topics that you study with your child in this moment. For example, when studying the primary colors (red, yellow, blue and green), you can organize exhibitions of paintings of these colors. At the same time, try to select works of different genres (you can gradually introduce abstract painting), different directions and trends, different artists. In some topics you can also use reproductions of sculptures (studying a person, emotions, etc.).
But even if you don’t do themed activities with your baby, you can still do themed exhibitions. These can be either more specific exhibitions - “Flowers”, “Autumn”, “Water”, “Birds”, etc., or more abstract concepts “Joy”, “Freshness”, “Silence”, etc. ( exhibitions of the second type are best held with older children).
If you wish and if there is space, you can make a special exhibition corner for displays. And “walk” there as if in real life showroom or a museum. By the way, when the child runs around the apartment on his own, it is advisable to move the entire exhibition to his eye level.
As exhibitions become more complex, begin to complicate the stories behind the paintings. This does not mean that you need to immediately reveal the entire history of their creation or the biography of the artist. It will still be possible. Draw your child’s attention to the plot in the paintings, details, mood, color scheme. If the picture has a clearly defined simple genre (still life, landscape, portrait), then you can say so, but don’t focus on the child remembering this concept. Gradually it will fit into his head. For “analysis”, choose subjects and subjects that are more or less known and understandable to your baby, only gradually introducing new ones. (all pictures can be enlarged by clicking)
Approximately your story based on the picture could be like this (Paul Gauguin. “Still Life with Fruit”):
“Let's look at the picture. What does it show? Apples! The artist painted four apples - two green and two red. The apples are juicy, large, and you just want to eat them! Do you like apples? Which do you like better - green or red?
Or (Renoir. “Girl with an Umbrella”):
“Oh, look who’s looking at us? Girl! Beautiful girl? Do you like it? What's in her hands? Umbrella! Why do we need an umbrella? To hide from the rain or even from the bright sun. The girl went out for a walk in the garden - you see - trees, bushes, grass and flowers are painted in the background. The girl has already picked a small bouquet to take home and put in a vase,” etc.
For an older child, you can ask leading questions about the picture. If he finds it difficult to answer, prompt him or gently lead him to the answer.
(Tolstoy. “Raspberry, branch, butterfly, ant, leaf”):
“What kind of berries are drawn here? What color is the butterfly? Do you see an ant? He's very tiny. Look closely - it’s crawling along the top leaf...”
When viewing a thematic exhibition, pay attention to how the same subject or subject was depicted by different artists and at different times. For example, winter – it’s different for every artist! But we still understand that it is winter. How? For what details?
Or bread. How he was depicted by different artists. For some, this is a whole table, which is bursting with loaves and loaves of bread. (Mashkov “Moscow Sned”), for some it’s just a small piece of black bread (Petrov-Vodkin “Herring”), and for some people you won’t even notice the bread right away, but only after looking closely at the plot (Fedotov “Breakfast of an Aristocrat”). Some artists depicted bread while still in the baking stage (H. Allingham “Hot Bread”), and others - in the field at the collective farmers' lunch (Serebryakova “Lunch”). In which picture does the bread look the most appetizing and make you want to eat it right away?
From the age of 3-4 (depending on your child), acquaintance with art can be deepened, expanded and complicated. I have already written before about how home exhibitions of reproductions can be complicated. I will only add that when studying certain genres, it will be possible to organize genre exhibitions; when studying an artist - his exhibition; when studying any particular type of art (stained glass, engraving, etc.) - also corresponding exhibitions.
Also, try playing a real gallery game once in a while. Those. Announce the upcoming exhibition in advance (choose with your child a topic familiar to him). Write a poster. Prepare tickets and badge for the guide. Draw a picture of a person at the exhibition. Let the guide take you on a tour - tell you about the exhibition, what topic it is dedicated to, what works are presented, and tell you about several of them. If the little guide is at a loss as to what to talk about, ask him leading questions, like a curious visitor. Try to involve other family members (or toys) in the game.
GAMES WITH REPRODUCTIONS
In addition to exhibitions with reproductions, you can also prepare the first task games. For example, after hanging (or laying out) pictures, ask your child to choose everything where autumn is painted or everything where there is transport.
Extra reproduction
The next task will be approximately the same type as the game above. Lay out several reproductions in front of your baby. Ask them to find one extra one. If he can, let him explain why it is superfluous (everywhere it is summer, but here it is winter; these are paintings, and this is a sculpture; in all paintings there is a lot yellow color, and here there are mainly blue shades). If your child finds it difficult to explain his choice, give him a hint.
Puzzle
Cut one of the paintings into two or three parts and ask your child to assemble the whole painting. Gradually the number of cut parts can be increased.
Where is the part from?
Draw (or print out) a few simple familiar details from the paintings (for example, an apple, a green leaf, an umbrella, a cow, etc.) and place several reproductions in front of the child. Tell me to guess where this part jumped out from?
INTRODUCTION TO PAINTING GENRES
It is better to start studying genres of painting from the age of 3-4 and from the simplest ones - still life, landscape, portrait, mythological genre, animalistic genre(sounds complicated, but remembering what it’s about is simple – drawing animals).
Tell your child about the main features of the genres that are depicted in the paintings. Organize genre exhibitions, look at paintings in books; try to draw (or make an applique) yourself; create genre paintings from available objects (for example, a portrait from nuts and bolts, a still life from toys, a landscape from vegetables and fruits, etc.).
To reinforce the material you are learning, play games.
Find out by description
Place several reproductions of different genres in front of your child. Offer to guess what genre you will talk about.
“In paintings of this genre, gardens often bloom and flowers bloom; sometimes it can rain or snow.” (Scenery)
“In paintings of this genre, flowers also bloom, berries ripen, and there are also vases, plates and fruits.” (Still life)
“Thanks to this genre, we know how people dressed in ancient times, what fashion was like. We can find out what a person looked like without even seeing his photograph.” (Portrait)
“From the paintings of this genre, the eyes of animals and birds look at us. We can feel their grace, see their colors, and sometimes learn about their habits.” (Animalistic genre).
After one of the descriptions, invite your child to choose from the presented works those that, in his opinion, correspond to this genre. Let him tell you what genre it is and why he chose these particular reproductions.
Scheme
Draw on pieces of paper (or draw directly on the board) a simple diagram of one of the genres. Ask your child to determine which genre diagram you have drawn.
One item
Select paintings of different genres that use the same subject (object). For example, a basket - both in still life and in landscape; carpet - both in the mythological genre, and in portraits, and in still life; fan - both in still life and in portrait. Tell your child: the same object is hidden in these pictures. Find him. In what genres of painting did artists use it?
What genres are used?
Select several paintings that combine several genres (portrait + landscape, portrait + still life, etc.). The child’s task is to identify all the genres that are present in this work.
MEET THE ARTISTS
In addition to genres, you can slowly begin to introduce your growing child to individual artists. Observe which paintings your baby is most interested in, which style, which artist. Or, perhaps, the child himself will show interest and ask, “Who painted this picture?”
Don’t try to tell your baby your whole biography. At that age he won't be interested. Try to tell some of his distinctive features, what he is famous for, what he brought to art. Maybe you can tell me some special ones Interesting Facts life. To do this, of course, you will first have to study the artist’s biography yourself. Alternatively, you can use books currently being published for children on this topic. For example, “Tales of Artists” published by “White City” (or the same books, collected under two covers “The Charm of the Russian Landscape. Tales of Artists” and “What Old Paintings Will Tell You”). Also books from the “Artists” Book series published by Phoenix-Premier. So far there are four of them - “Gauguin”, “Monet”, “Degas” and “Van Gogh”. You can see the rest of the books at the end of the article in the References List.
If the child chose this master himself, ask why he liked him and what attracted him to his work.
Consider with your child the works of this artist, especially the most famous and well-known ones. Tell us, if possible, why they are so famous. Try to choose words that are simple and easy for the child to understand.
Look at the works - they are all different, but at the same time, somewhat similar. Try to answer the question - with what? For example, it was a portrait artist, or the master has a predominant color scheme, or unusual brush strokes are visible everywhere (like Van Gogh), etc.
Ask your child to choose the one he likes best from all the jobs. Try to understand what feelings and emotions the artist experienced while working on this work. What did you want to convey to the viewer? Think about the plot. What happened BEFORE that captured moment and what could happen later in the picture.
You can invite your child to try to repeat one of the paintings or the artist’s style.
I didn't draw this!
From several reproductions, ask the child to choose the “extra” one, i.e. not belonging to the artist's brush.
Let's bring the picture to life
Select one or more paintings by the artist and try to bring them to life. If this is a portrait, try to wear similar clothes and take the appropriate pose. If the picture is a plot, then arrange, for example, dolls and toys, as in the picture (i.e. repeat the composition). If it's a still life, it's even easier. Find similar objects and arrange them like in a painting.
You are an artist and so am I...
Show your child several reproductions by different artists. Among them, let there be one of the paintings that is similar to the work of the master being studied (same style, similar manner). Ask your child to find such a picture. Why did the kid pay attention to this particular work? How is it similar to the author’s paintings?
DISCOVERY OF SCULPTURE
You can begin to introduce sculpture at home exhibitions in the form of reproductions gradually. Explain to your child the fundamental difference between sculpture and painting and graphics (volume and plane). It would be nice, of course, to see the sculptures in person, especially at the initial stage of acquaintance. So that the child can feel for himself that the sculpture can be walked around, that even the relief works protrude from the space. If you have an art gallery or museum, great. If not, then statues in parks and squares will do.
Sculptures are made from different materials– stone, clay, metal, wood. Show your child reproductions of such sculptures and let them touch samples of materials. Try making your own clay sculpture. With this method, the parts are gradually attached to the base. With an older child, try carving a sculpture out of stone. To do this, make a blank - pour plaster into an oblong container and let it harden. And then invite the child to cut off everything unnecessary from the workpiece in stacks to make, for example, a head. Be sure to follow safety precautions!
Where is the painting, where is the sculpture?
Select several paired reproductions. Each pair should contain an image of identical objects, only in one case it is a painting, in the other it is a sculpture (for example, a girl; a tree; a horse). Ask your child to choose matching pairs.
Wrong angle!
Try to find photos on the Internet of the same sculpture, captured from different sides or at different angles. Print it out. Add one or two reproductions of a completely different sculpture. The child’s task is to find these alien angles.
WALKS AROUND THE CITY
You can continue your acquaintance with art while walking around your city. Any town, even a small one, will have its own interesting architectural objects - statues, monuments, mosaics, stained glass windows, frescoes, stucco moldings, etc. If you are lucky enough to live in a big city, then you will definitely have where to go and what to see. Draw the child’s attention to the object, tell about it in simple words - what is depicted, what technique (sculpture, stained glass...), note some significant details. Take a photo of the object. When photographing, please note that you can capture the entire object, or you can individual parts(column, twisted staircase, window). The photo can then be printed and used in your games at home. For example, ask your child to remember where you saw this object and what was nearby. What does he remember about this object - what technique it is, what is depicted, etc. If this is an architectural detail, then let him tell you what object it comes from.
You can, on the contrary, prepare for one of the walks in advance. Look at the photographs (in books), find out interesting facts. And then, already on the ground, invite the child to find the desired object (building, sculpture) himself. Remember what you talked about, consider the features and details. Touch (unless prohibited).
Make an album with photographs of particularly interesting architectural objects in your city.
VISITING AN ART GALLERY
I would like to highlight a trip to an art gallery as a separate item. Take your time with this. It is still difficult for small children to withstand a long time in the gallery. Show them one or two of the most significant and interesting works. If the child himself is interested, you can continue, but no, don’t insist, don’t discourage him forever. It would be good, of course, to start with paintings that your child has already seen in reproductions, but not everyone has such an opportunity.
Do not forget that the exhibition in the gallery is intended for an adult. Therefore, in order to view the picture normally, you will need to raise the child to your level. If he’s running around below you, don’t be surprised that many jobs don’t excite him)) – he may simply not see them.
If you managed to look at a work in the gallery that you have already seen in reproduction, try asking your child what is the difference between the original and the reproduction (size, saturation, impasto brush strokes may be visible, some details have become noticeable, etc.)
If all the works are unfamiliar to you from reproductions, try to pay attention, first of all, to those that are somewhat similar to those already familiar to your child (for example, a similar bouquet in a vase, or a still life with fruit, or an autumn landscape). Compare the paintings - how they are similar and how they differ (it’s good if you take the reproduction itself with you - it will be easier to compare). If you have a thematic exhibition of reproductions at home, invite your child to find works with the desired theme in the gallery.
Another option is to prepare for going to the exhibition in advance. Those. find out in advance which works will be presented, find their reproductions and look at at least some of them with your child. It will be more interesting for your child to see familiar works at the exhibition.
I also advise you to read Françoise Barbe-Galle’s excellent book “How to talk to children about art.” In it you will find many more tips on how to prepare for a trip to a museum or gallery.
GAMES TO CONSOLIDATE KNOWLEDGE
Finally, I will offer you a few more general games designed to consolidate knowledge of fine arts.
Photography and painting...
Among the paintings and photographs, try to select several works that are more or less similar (for example, a summer forest glade, a bouquet of daisies, a woman in a red dress, harvesting bread, etc. Searching on the Internet will help you with this). Print it out. Invite your child to choose pairs of similar works, explaining his choice.
Remember all
Show your child one of the works. Offer to take a closer look. Then close the reproduction (or turn it over). And ask about some detail. For example, what color was the duchess's hat? Or how many pine trees grew in the distance? Or what time of day is depicted?
Select questions according to the child’s age and abilities, but you can gradually complicate the game.
In conclusion, I would like to encourage you, parents, not to be afraid to start getting acquainted with art. Many people say that for them it is dark forest, and also to teach a child something... In fact, everything is not so scary. I hope that you are convinced of this, even after just reading my thoughts and advice on this matter. Yes, of course, parents will have to read something on the topic themselves first, so that they have something to tell their child about. But it's natural! Learn with your baby, make discoveries, learn new things! Together it's even more interesting! At some point, it may even happen that your opinions and tastes do not coincide with your child. This is fine! This is everyone's personal preference. Some people like graphics, some like painting. One is crazy about Picasso, another idolizes Rubens, etc. But in order for your child to form this opinion, you need to show all the diversity of art.
In addition, classes, as I already wrote, “educate” the eye from childhood, help develop visual memory and vision itself (try to distinguish many shades), eye, imagination, etc. And, of course, they enrich the child’s inner world, and at the same time yours. I am sure that once you start getting acquainted with art, you will discover a lot of new and amazing things, the world will sparkle for you with new facets and colors.
And by the way, you don’t have to know how to draw. The main thing is the desire to learn to see and understand. But I don’t deny that after such classes you yourself will want to pick up a brush (or a brush, or a pencil) and start creating! And it's wonderful!
Finally, I provide you with a reading list to help you and your children explore the arts. Here I included art books that are more aimed at children and did not include art albums by artists, art galleries and movements, otherwise the list would be endless. But it would be nice to have such art albums at home to look at reproductions in them and draw information on art from them.
Zhenya Yasnaya
Editor in Chief " "". Ed. "Mosaic-Synthesis". ABC. Animal world Tales about artists Online school “Learning by playing”
Target: introducing children to one of the genres of painting (portrait); consolidate knowledge about the profession of “artist”; to form in children a positive emotional response to works of fine art; cultivate respect for the artist’s work; enrich children's vocabulary (“portrait painter”).
Preliminary work: viewing illustrations, children’s works in the art studio, cut lotto “Professions”; d/i “Who needs what for work”, “Guess the mood”; conversations with children about the work of adults; guessing riddles; reading N. Nosov’s story “The Adventures of Dunno.”
Equipment: two easels, felt-tip pens, small unfinished portraits of a girl (according to the number of children), a palette, paints, pencils, a sheet of paper, a brush.
Progress of the lesson:
Smurf: Hello guys! You recognized me? I am the “Tassel Smurf” - the most important one above all the brushes.
Inflammation: Smurf, why are you so cheerful today?
Smurf: I went to the art gallery museum. There are many beautiful paintings there. I really liked them, that’s why I’m so cheerful and happy.
What's your mood today? (Good, cheerful...) Smile, stretch!
On the way to visit you, I stopped by the post office and brought this parcel (a beautiful box) and an envelope. Curious to see what's in there?
But first, guess my riddle:
I have a pencil
Multi-colored gouache,
Watercolor, palette, brush
And a thick sheet of paper,
And also a tripod easel,
Because I ….(artist)
Well done, you guessed correctly! So please tell us, who is this artist? (A person who draws pictures).
Now let's see what's in this package
Who are all these items for? (for the artist)
What do you guys think, where do artists keep their paintings? (in museums, art galleries)
That's right, the museum then puts on exhibitions of paintings. You can come there and look at them.
Since you are so good at solving riddles, try again:
In a painted picture
This is the main person.
Maybe dad or mom
Maybe grandpa and me
Drawn in a picture
Maybe my whole family.
It's easy to guess here,
There is no uncertainty
What a beautiful picture
Called …..(portrait)
Right. A portrait is a picture in which the artist draws a person’s face or depicts him in full height. The artist conveys the features of a person, his character. Such paintings are called “portraits,” and the artists who paint them are called “portrait artists.”
(Children look at the screen)
Smurf: Now it's time to see what's in that big envelope.
Look guys at this portrait of a girl. It was drawn by the artist Boris Kustodiev. In this portrait he depicted his daughter, whose name is Irinka. Do you like her? (Yes)
What did you like about the girl? (She's beautiful…)
Look how the artist depicted his daughter in the portrait, why?
What is Irinka wearing? What's in her hands?
Where do you think the girl can go?
Who else is in the picture? (dog). Her name is Shumka.
Looking at this portrait, try to find words that will tell about Irinka. What is she like? (Beautiful, small, cheerful, smiling, elegant).
In the next picture, which was painted by the artist Ilya Repin, there is also a girl drawn - his daughter, whose name is Nadya.
How did the artist draw it?
Why could she be so sad, what could have happened to her? (Sick, sad, waiting for mom, tired..)
What words can you choose to describe Nadya, drawn in this portrait? (Sick, sad, thoughtful, tired..)
Tell me guys, are these two girls drawn in these portraits similar?
You guys are great! Perhaps you are tired? Now we will play with you.
One - get up, stretch
Three - three claps of your hands,
Three nods of the head.
For four - wider arms,
Five - wave your arms,
Six – sit down quietly.
Let's draw together
And create pictures.
Inflammation: Guys, who creates the paintings? (artists).
Look, is there anything else in the envelope? . What is this? What is the name of a painting in which the artist paints only the face? (portrait).
In order to complete these portraits, we need to turn into real artists. To do this you need to say “ magic words»:
One, two, three - spin
And turn into artists.
Inflammation: Now our portraits are ready. We have a whole art gallery.
Smurf, do you like the portraits the guys drew?
Smurf: Yes. They are wonderful. I liked you so much that I decided to stay in your group.
Inflammation: Stay, Smurf, you will find it interesting. And now guys, let’s invite all the guests to our exhibition, but for this we need to turn from artists back into guys.
(Children close their eyes)
One, two, three - spin
And turn into kids.
Download:
Preview:
Municipal budget preschool“Kindergarten No. 16 “Little Red Riding Hood” in the city of Novocheboksarsk, Chuvash Republic
LESSON SUMMARY
IN THE SENIOR GROUP ON THE TOPIC:
"Introducing preschoolers
with art (portrait)"
Prepared by: Gorshkova T.D.,
Senior group teacher
"Polyanka"
Novocheboksarsk, 2014.
Target: introducing children to one of the genres of painting (portrait); consolidate knowledge about the profession of “artist”; to form in children a positive emotional response to works of fine art; cultivate respect for the artist’s work; enrich children's vocabulary (“portrait painter”).
Preliminary work:viewing illustrations, children’s works in the art studio, cut lotto “Professions”; d/i “Who needs what for work”, “Guess the mood”; conversations with children about the work of adults; guessing riddles; reading N. Nosov’s story “The Adventures of Dunno.”
Equipment: two easels, felt-tip pens, small unfinished portraits of a girl (according to the number of children), a palette, paints, pencils, a sheet of paper, a brush.
Progress of the lesson:
(Children are sitting on chairs, there is a knock on the door, a Smurf appears with tassels, with a beautiful box and a large envelope)
Smurf: Hello guys! You recognized me? I am the “Tassel Smurf” - the most important one above all the brushes.
Inflammation: Smurf, why are you so cheerful today?
Smurf: I went to the art gallery museum. There are many beautiful paintings there. I really liked them, that’s why I’m so cheerful and happy.
What's your mood today? (Good, cheerful...) Smile, stretch!
On the way to visit you, I stopped by the post office and brought this parcel (a beautiful box) and an envelope. Curious to see what's in there?
But first, guess my riddle:
I have a pencil
Multi-colored gouache,
Watercolor, palette, brush
And a thick sheet of paper,
And also a tripod easel,
Because I….(artist)
Well done, you guessed correctly! So please tell us, who is this artist? (A person who draws pictures).
Now let's see what's in this package
(One by one, the teacher takes out objects from the parcel: a sheet of paper, a brush, pencils, paints, a palette, the children name them)
Who are all these items for? (for the artist)
What do you guys think, where do artists keep their paintings? (in museums, art galleries)
That's right, the museum then puts on exhibitions of paintings. You can come there and look at them.
Since you are so good at solving riddles, try again:
In a painted picture
This is the main person.
Maybe dad or mom
Maybe grandpa and me
Drawn in a picture
Maybe my whole family.
It's easy to guess here,
There is no uncertainty
What a beautiful picture
It's called…..(portrait)
Right. A portrait is a picture in which the artist draws a person’s face or depicts him in full height. The artist conveys the features of a person, his character. Such paintings are called “portraits,” and the artists who paint them are called “portrait artists.”
(Children look at the screen)
Smurf: Now it's time to see what's in that big envelope.
(The teacher takes out reproductions of paintings from it one by one and hangs them on the easel)
Look guys at this portrait of a girl. It was drawn by the artist Boris Kustodiev. In this portrait he depicted his daughter, whose name is Irinka. Do you like her? (Yes)
What did you like about the girl? (She's beautiful…)
Look how the artist depicted his daughter in the portrait, why?
What is Irinka wearing? What's in her hands?
Where do you think the girl can go?
Who else is in the picture? (dog). Her name is Shumka.
Looking at this portrait, try to find words that will tell about Irinka. What is she like? (Beautiful, small, cheerful, smiling, elegant).
In the next picture, which was painted by the artist Ilya Repin, there is also a girl drawn - his daughter, whose name is Nadya.
How did the artist draw it?
Why could she be so sad, what could have happened to her? (Sick, sad, waiting for mom, tired..)
What words can you choose to describe Nadya, drawn in this portrait? (Sick, sad, thoughtful, tired..)
Tell me guys, are these two girls drawn in these portraits similar?
You guys are great! Perhaps you are tired? Now we will play with you.
(Children go to the middle of the group)
Physical education session “Young Wizards”
One - get up, stretch
Two – bend over, straighten up.
Three - three claps of your hands,
Three nods of the head.
Four - arms wider,
Five - wave your arms,
Six – sit down quietly.
Let's draw together
And create pictures.
Inflammation: Guys, who creates the paintings? (artists).
Look, is there anything else in the envelope?(Takes out small unfinished portraits). What is this? What is the name of a painting in which the artist paints only the face? (portrait).
In order to complete these portraits, we need to turn into real artists. To do this you need to say the “magic words”:
(Children cover their eyes with their palms)
One, two, three - spin
And turn into artists.
(children sit at tables, complete the drawing of the face in the portrait)
Inflammation: Now our portraits are ready. We have a whole art gallery.
Smurf, do you like the portraits the guys drew?
Smurf: Yes. They are wonderful. I liked you so much that I decided to stay in your group.
Inflammation: Stay, Smurf, you will find it interesting. And now guys, let’s invite all the guests to our exhibition, but for this we need to turn from artists back into guys.
(Children close their eyes)
One, two, three - spin
And turn into kids.
(Guests and children look at the portraits)
Introducing children to art. The artist and his painting.
ISKU SSTVO- creative reflection, reproduction of reality in artistic images.
Name the types of art. There are five of them (painting, graphics, architecture, sculpture, decorative and applied arts.)
In accordance with the requirements of the “Childhood” program, teachers must expand children’s knowledge about the fine arts and develop artistic perception of works of fine art. What does fine art give to children?
Interest and love for beauty is fostered, aesthetic feelings develop. Art reveals the richness and variety of colors of the surrounding world, forms, movements, with its help children get acquainted with objects and phenomena of life that are new to them, and are imbued with lofty ideas. They experience joy, excitement, and admiration when perceiving the beauty created in paintings and illustrations.
In our consultation, we will dwell in more detail on introducing children to the works of artists, how to work in a group in this direction, relying on the visual material available to the kindergarten.
Painting.
Painting is a type of fine art associated with the transmission of visual images through the application of paints to a solid or flexible base.
In turn, painting has its own genres: still life, landscape, portrait.
Children are introduced to still life from the 2nd junior group; landscape - average; portrait - in the eldest, from the second half of the school year.
Getting to know still life
The genre of still life is multifaceted, its main object is the private life of a person, his simple everyday affairs and needs, expressed in objects - food, drink, household utensils, elements of flora and fauna, works of applied and fine art, objects and tools of labor. The artist depicts the outside world: shape, color, texture of objects, density, softness, juiciness, humidity, transparency, fragility.
Objects depicted in still lifes can be divided into two large groups: natural objects(flowers, fruits, food, fish, game, accompanied by birds, small animals, insects) and things made by human hands(tools, household items, works of art).
Peculiarities of perception of still life by children 3-7 years old
Still life is the first genre of painting with which, as studies by teachers and psychologists show, it is necessary to introduce preschoolers, because it not only evokes the greatest emotional response in children from the age of 3-4, associations with their own life experience, but also attracts children’s attention to the means of expressiveness painting, helps them to look more closely at the beauty of the depicted objects and admire them.
The levels of aesthetic perception of a picturesque still life by preschool children have been established. On first level, At its lowest, the child rejoices in the depiction of familiar objects that he recognized in the picture, but not yet in the image. The motive for evaluation is of an objective or everyday nature. Children around three years of age stand at this level.
Second level: the child begins not only to see, but also to realize those elementary aesthetic qualities of the work that make the picture attractive to him. Subject to attention from the teacher, a significant part of children aged 5 years are already able to receive basic aesthetic enjoyment, evaluating in the picture as beautiful both color and color combinations of depicted objects and phenomena.
On third, the highest level aesthetic development Preschool children rise to the ability to perceive more than is inherent in the external signs of the depicted phenomenon. At this level, the child is able to grasp the internal characteristics of an artistic image that do not lie on the surface.
Types of still lifes. Principles for selecting still lifes for children of different age groups.
Single-order (single-species) a still life depicts objects of one specific type: only vegetables, only fruits, only berries, mushrooms, flowers, and so on. The painting can depict a variety of household items.
If the picture presents heterogeneous objects (vegetables and fruits, flowers and fruits, dishes and vegetables, weapons and flowers, etc.), we conventionally define such a still life as mixed by content.
Still lifes, united by the name “set table”: “breakfast”, “dessert”, “dinner”, etc. have a slightly different character. Such images have some plot, so we will conventionally designate them as plot. The subject still life includes still lifes depicting living creatures: birds, animals, humans.
When selecting still lifes for children, one should rely, first of all, on highly artistic works that are accessible to them both in content and in terms of artistic expression. A still life should evoke an emotional response and interest in children, and be close to their personal experience.
We can recommend single-order still lifes for children of the younger and middle groups. These still lifes should not have large quantity objects must be simple in their means of expression. It’s good to choose bright ones, decorative works. In the middle group, still lifes of mixed content should be offered: flowers and fruits, berries and fruits, vegetables and fruits, etc.; in addition to them, consider still lifes with household items, food, etc. Here it is appropriate to draw the attention of children to some means of expression, color tonality (warm or cold range, color contrast).
In older groups, children should be shown a variety of still lifes, the features of the means of expression used, and the individuality of the artists’ creative style. In addition to single-order and mixed still lifes, we offer children still lifes of a plot nature.
Peculiarities of children's perception of landscape painting4 – 7 years.
Scenery- one of the most emotional, most lyrical genres of fine art, the subject of which is the image of pristine or man-made nature. Landscape painting represents the spiritual atmosphere of time, the totality of its feelings and experiences.
Younger preschoolers are introduced to landscape as a genre of painting for the first time. When introducing children to landscape painting it is necessary to rely on the experience of children’s direct perception of nature according to its seasons. At the age of 4-5 years, children’s own visual activity will outstrip their artistic perception of paintings.
Children of senior preschool age get acquainted with picturesque landscape, forming an emotionally holistic experience of relationship to nature and its depiction in artistic paintings.
Children look closely at surrounding nature, learn to see and understand its beauty. Older preschoolers learn not only to understand the intent of a work and its content, but also the ability to see the means of expression used by the artist to convey feelings and moods. In the future, it is necessary to continue working on developing children’s ideas about landscape as a genre of painting, its types and features. Expand your understanding of the landscape not only with pronounced seasonal changes in nature, but also with its intermediate, interseasonal states (for example, the beginning of autumn, Golden autumn, late autumn), at different times of the day (morning, noon, evening, night), in different weather (wind, rain, snow, thunderstorm, fog, etc.). At the next stage, children get acquainted with such types of landscape as rural, urban, architectural, and marine. Children will learn about landscape artists and the paintings they painted, about the process of creating works of art in the life of society, of each person, then using the acquired knowledge and sensations in their own fine arts.
Peculiarities of children's perception of a portrait5 – 7 years.
Portraiture is one of the most difficult and significant genres in the fine arts. No other genre of painting is capable of revealing a person the way a portrait does.
Children 5 years old show positive interest in portraits. They respond emotionally to portraits of people whose images are not only close to their personal experience, but also known to them from literature and cinema. Children prefer people with a positive emotional state, although they also empathize and sympathize with sadness. A five-year-old child already pays attention to such means of expression as, for example, drawing. When determining the emotional state, he sees not only the face and its facial expressions (movement of the eyebrows, expression of the eyes, lips), but also the posture. Five-year-old children are already developing a basic understanding of color as a means of expression. They can give an aesthetic assessment to a portrait, although their argumentation is poor and often insignificant. Artists do not paint portraits specifically for children, so selecting them for use in the pedagogical process is quite difficult.
Children 6-7 years old also show an active and positive interest in portraiture. They respond emotionally to an artistic image, expressing their own feelings and attitudes towards it. They see not only the content, but also some of the means of expressiveness of the portrait. They understand the connection between the expressive properties of a pose and a person’s facial expression, gestures (kind, serious, angry), and give a general moral assessment. Based on essential features, they determine social status depicted. Pay attention to clothes. The environment, details, objects of labor and everyday life, but they are not essential features in assessing a portrait, but are used as additions to the characterization of the image. A person is given a moral and aesthetic assessment, it is more detailed and demonstrative
Methodology for introducing preschoolers to painting.
Preliminary work includes tasks and game exercises on enriching and activating the vocabulary, developing expressiveness of speech, forming monologue speech, reading works of art, the plot of which would be in tune with the theme of the picture.
When reading a literary work, the teacher intonationally highlights those places that are reflected by the artist in the content of the picture. After reading, a short conversation is held about how the children understand what they read. Such methods help the preschooler more easily understand the content of the picture and expand his vocabulary.
1.For selection figurative comparisons useful exercises: “What can you compare a forest, meadow, snow with?”, “Who can compare more beautifully?”
2. To activate words that express the mood in the picture, use verbal exercises: “Find out who or what I’m talking about?”, “Match the word and the mood of the picture,” “Who can name the most words that convey the mood in the illustration?”
3. In order for children to be able to adequately perceive the state of the people depicted in the picture, it is necessary to learn to understand the language of gestures, facial expressions, and movements. Reading helps with this fiction, puppet theater show, dramatization of fairy tales.
4. Children are taught to understand sign language using facial exercises: “show with facial expressions, gestures what you are thinking about,” “Tell without words what you would paint a picture about.”
5. To develop the expressiveness of speech, exercises are carried out to prepare the child for the perception of the work: “Say the phrase: “What a beautiful picture.” What a sad landscape." How would I pronounce this phrase a kind person, how would an evil person do it, etc.?”
Before introducing children to a work, the teacher studies it (not just examines it), determines what the picture is about, establishes a connection between the content and means of expression, color and composition, structure and mood of the work, and decides what sounds most vivid in the picture. After a detailed study, he selects the words necessary for the story.
Methods and techniques for introducing children to painting
Explanation– is widely used during first conversations to clarify children’s ideas about the portrait.
Comparison– increases the mental activity of children, promotes the development of mental actions: analysis, synthesis, inference.
Accenting details– enhances the child’s perception, helps establish the relationship between part and whole, develops speech. The essence of this technique is that the perception of the picture is covered with a sheet of paper, only the parts necessary for discussion or examination remain open.
A method of evoking adequate emotions. Its essence is to evoke certain feelings, emotions, and moods in children. It is suggested to recall a similar situation, in which cases the children had the same mood.
Tactile-sensory method. This method consists in the fact that in the process of perception the teacher touches the child with his hands (stroking, caressing, holding, etc.). The purpose of this method is to evoke children’s feelings and experience the adequate state of the depicted image.
It affects the emotional state of children, causes responses, especially among shy ones, but provided that there is mutual sincerity between the children and the teacher.
A method for reviving children's emotions with the help of literary and song images.
The technique of “entering” into the picture– children are asked to imagine themselves in the place of the person depicted. This teaches you to worry and awakens children's imagination.
Musical accompaniment method– music sounds, the mood of which is consonant with the mood of the picture, i.e. the effect occurs simultaneously on the visual and auditory analyzers. Music can precede the perception of a portrait. Then the teacher asks if the children guessed who is depicted in the portrait that we will look at today. Music can be the background for a teacher's story.
Stages of introducing preschoolers to painting
First stage– an art history story by a teacher
The structure of an art history story:
1. Message of the title of the painting
2. Message of the artist's name
3. What is the painting about?
4. What is the most important thing in the picture (highlight composition center)
5. How it is depicted (color, construction, location)
6. What is depicted around the main thing in the work and how the details are connected to it
7. What beautiful things did the artist show with his work?
8. What do you think about, what do you remember?
Using this story structure is possible until children begin to adequately answer questions posed after the story about the content of the picture and acquire the skill of monologue speech when answering the question of what the picture is about.
An art history story can be given after the children have independently examined the work. Then the teacher asks them questions in order to consolidate their understanding of the content of the picture. Questions should be detailed and specific, aimed at listing what was seen in the picture, at examining it in detail, taking into account the principle of increasing complexity.
For example:
– What is shown in the picture?
– Where are the objects and people depicted in the picture located?
– What do you think is the most important thing in the picture?
– How did the artist depict it?
– What is the brightest thing in the picture?
– What did the artist want to say by this?
– What mood did the artist convey?
– How did you guess that exactly this mood is reflected?
– How did the artist manage to do this?
– What do you think or remember when you look at this picture?
Paintings by artists should evoke certain feelings in children. Therefore, it is necessary to use the technique of “entering the picture, recreating the events preceding and following the content of the picture”
Second phase
1. Develop the ability to independently analyze the content of a picture,
2. Highlight expressive means,
4. Motivate an emotional – personal attitude towards the work
The art history of the teacher is excluded. Examination of the paintings begins with asking questions of a more general nature.
For example:
What is the picture about?
Why do you think so, tell me?
What would you call the painting?
Why is this so?
What beautiful and amazing things did the artist convey in the images of people, landscapes, objects?
How did he depict this in the film?
What mood does the painting evoke?
Why does this mood arise?
What did the artist want to say with his painting?
These questions are not aimed at listing the image, but at establishing and explaining the connection between the content and means of expression. They contribute to the development of the ability to reason, prove, analyze, and draw conclusions.
Sometimes it is necessary to use the technique of precise settings, which teaches you to reason logically and opens the way to an independent search for an answer.
For example: “Before answering the question, what is the picture about, look carefully at what is depicted on it, what is most important, how the artist showed it, and then answer the question, what is the picture about.”
Reception of compositional options - the teacher verbally or visually shows how the content of the picture, feelings, mood expressed in it changes depending on the change in composition in the picture.
For example:
1. “What has changed in the picture between people. objects? (the teacher covers part of the picture with a sheet)
2. “What would the painting tell us if the artist arranged people not in a circle, but separate groups?»
3. “Explain why the artist depicted the image of a person or object of this particular size?”
In order for color in painting to become “speaking”, the technique of coloristic options is used - changing the color of the picture by verbal description or the overlay of color film over the artist's color.
For example:
– What would change in the mood of the people depicted if the artist painted the picture in cold colors?
At the second stage, instead of a story - a sample from the teacher’s personal attitude, various questions are used that activate the child’s mental activity.
Long-term use of a story-sample can lead to a passive perception of the work
Structure of asking questions:
What did you like about the picture?
Why did you like her?
What did you like about her?
Third stage
1. Formation of creative perception of the picture.
2. Comparison of what is depicted with personal experience.
3. Development of various associations, emotions, feelings.
The technique is introduced into the process of perceiving painting gradually. First, two paintings by different artists, of the same genre, but with a contrasting mood, are given for comparison, and then paintings by the same artist, but with different color schemes.
Reproductions of paintings are first compared by contrast - mood, color, composition, highlighting only one feature.
A technique for mentally creating a picture by name, given by the artist.
At the beginning, children find it difficult to express their thoughts consistently and in detail. Therefore, at first, the teacher uses precise settings.
– Tell us what the picture will be about, what will you highlight the main thing in it?
– What will be written around the main thing, in what colors, on what background?
– What will be especially beautiful?
– Why did you decide to highlight this as the most beautiful thing in your picture?
Game elements that stimulate the child’s desire to talk about the picture he likes: “Who can tell it better, more interestingly?”
It is necessary to teach children to ask questions, which indicates that they are developing a certain direction of views and interest in the social life of people.
Requirements for the selection of paintings
When selecting works for viewing with preschoolers, it is necessary to clearly understand what the picture is about, what main idea the artist expressed, why this work was created, and how the content was conveyed.
* relevance of what is expressed in genre painting social phenomenon
* works dedicated to a famous event and seasonal changes in nature
* unity in the perception of content (what is depicted) and means of expression (how the content is expressed)
* color solution (color contrast)
* compositional solution
* emotionality of the work - the more emotional, brighter the work, the stronger its effect on feelings and consciousness.
HOW TO INTRODUCE CHILDREN WITH BOOK GRAPHICS
The period of preschool childhood is one of the most favorable stages in children’s communication with the fine arts, in the development of their abilities for visual activities. The book is one of the first works of art with which he becomes acquainted. Illustrations for books are the most common type of fine art encountered by preschool children.
Book graphics for children differ from those for adults in the special nature of their design - clarity, harmony, and entertainment.
We must always remember that a book is a work of art, an original created by the hand of a master artist and incorporating the work of many people - writers, editors, printers. Books should be treated with care and respect, and this should be instilled in children from the very beginning. early age.
Peculiarities of children's perception of book illustrations
Junior preschool age (2-3 years)
The main activity of children aged 2-3 years is playing with objects. Taking this into account, the adult offers the child a folding book or a screen book. They read the text together, look at the pictures, and then include it in their game: they build a house or a fence out of it, hiding behind it and looking out.
When looking at the illustrations in the book, an adult’s questions play an important role: “Who is this?”, “What is he like?” If the answer to the first question does not cause any difficulties for the child, then the answer to the second question requires a certain description of both the appearance (big or small, white or red, fluffy or shaggy) and the emotional state of the hero (cheerful, funny, sad, cunning, wet , vocal, etc.).
An adult’s questions force the child to carefully look at the image, establish some connections (including with his own feelings), and draw simple conclusions, strengthening his emotional attitude towards the image.
When looking at the picture, you can ask your child to perform a number of playful actions: “Pet the bunny,” “feed the chickens,” “crow like a cockerel,” “meow like a kitten.” Ask him: “How does the cow moo?”, “How does the dog bark?” and answering the question posed, the child takes a pose, conveying the state of the hero of the book.
Junior preschool age (3-4 years)
Children of this age are very inquisitive: they know basic colors, shapes, geometric figures well, their active vocabulary increases sharply, thinking moves from visual-effective to visual-figurative, children develop quickly and ask questions.
The teacher’s task at this stage is to attract the children’s attention to the book, to interest them in the drawings and illustrations, to evoke a desire to look at them carefully - to “read” the drawings, to recognize familiar images, to respond emotionally to them, experiencing joy and pleasure from meeting them.
When looking at the pictures in the book, an adult reads the text to the child and helps to correlate it with a certain picture, draws attention to some means of artistic expression - shape (round), pose, gesture (lying, running, walking, carrying, waving), surface texture (fluffy, shaggy), color, position in space, imitates the voices of animals, the movements of animals and birds.
Average preschool age 4-5 years
In the middle group, the teacher continues to develop children's interest in books and book illustrations, to create joy from interacting with a book, anticipation of meeting it, an emotional response to its content, the mood of the characters, empathy for them, and caring attitude towards the book.
The teacher leads children to understand that the drawing is connected to the text, explains it, clearly shows the events taking place, the characters and evaluates their actions. Work continues on carefully examining the illustrations, the ability to see and recognize the images contained in them. Attention is also drawn to the means of expression with which the artist creates an image and conveys his attitude towards it; to a drawing reflecting the character of the hero through the image of form, structure, posture, movement, gesture, facial expressions.
At this age, children become familiar with color as a means of conveying the emotional state of the hero, seasonal and daily changes in nature. The child needs to be shown: where and how the artist draws the main character, how the drawing accompanies the text, explains it, talk about the role of illustration in the book and what the illustrator draws the illustration.
Senior preschool age (6-7 years)
If in primary and secondary preschool age teachers carried out targeted and systematic work to familiarize children with book graphics, then by the age of six children will have stable interest has been formed to this topic and a desire will be developed to constantly communicate with the book, study it, and try to read it independently. Teachers should maintain this interest, empathize with the characters, correlate their feelings with the feelings of the child, transfer them to their own little life experience, teach them to compare similar situations and think: what would I do, what would I do? Children share all this with adults and peers.
Six year old children familiar such means of expressive book graphics as pattern and color. Teacher introduces them to the expressiveness of form– contour, silhouette, created using lines, strokes, spots, dots and conveying the character of the image (its poses, movements, gestures) and coloring (colors, color combinations), which help the child understand the hero’s mood, his emotional state, the time of day, season, weather, geographical location terrain.
Children continue to get acquainted with different types of book layouts: book-image, book-album, book-theater, book-notebook and you can draw their attention to individual creative manner one or another artist in illustrating certain genres of literary works (for example, E. Rachev, N. Kochergin, T. Yufa - “storytellers”, Yu. Vasnetsov - illustrator of folklore, E. Charushin, M. Miturich - books about animals and nature ).
The teacher must help ensure that the knowledge accumulated by children results in children’s judgments, reflections, attitudes towards everything they see and hear and are used in their own creativity.
Methodology for introducing children to book illustrations (in different age groups)
In the first younger group The teacher shows two or three children sitting in front of her pictures of the nursery rhyme they already know, “Cockerel, cockerel, golden comb!” (remember that when we first read this nursery rhyme, the children looked at a toy cockerel, and in a rural kindergarten they saw a live rooster) and turns to one or the other child with questions:
Ninochka, show me where the cockerel is. Touch it with your finger. (Girl shows)
Here is a cockerel - a golden comb. And now you, Vitya, show him where his comb is. (Boy points)
The cockerel has a comb on his head, a golden comb! Now let’s look and compare the pictures: in one the cockerel is pecking at grains, and in the other he is singing. Sasha, show me a picture of a cockerel singing. (The boy finds)
A more difficult job for children is naming the character, object, or part of it indicated by the teacher in the picture (this work is associated with an “essay” based on the picture).
This technique of naming the characters and things indicated by the teacher in the pictures is often facilitated by the fact that the teacher himself shows the pictures-illustrations directly during the reading process.
In early preschool age, children develop a love for books and illustrations, the ability to focus attention on the text, listen to it to the end, understand the content and respond emotionally to it. Children develop the skills of listening together, the ability to answer questions, and a careful attitude towards books.
In very rare cases, children watch pictures in silence. The teacher must support children's conversations, teach them to correctly name objects and some of their characteristic features, helping them better understand the content of the picture. Looking at the pictures, children become interested in what is depicted, recognize familiar objects and phenomena, and get acquainted with those they did not know before.
In the second junior group visual and auditory perception should be distinguished. If the “hero” is not familiar to the children, then the teacher and the children carefully examine the picture, and only then listen to the story about what they saw. The teacher first reads the entire story, and when reading it again, shows the children pictures depicting the “heroes” of the story in appropriate situations. Then he hands out books to the children so they can look at the drawings again for themselves. After the pictures are examined, the story is read again without referring to the illustrations.
When teaching children 3-4 years old, it is important to draw their attention to the picture. One of the techniques by which you can interest your child in the content of the pictures is to invite him to put himself in the place of the one who is actor in the picture. The child becomes the hero of an event that is interesting to him and begins to talk about himself with enthusiasm.
In middle age Some changes occur in the understanding and comprehension of the text, which is associated with the expansion of the child’s experience. Children establish simple causal connections in the plot and, in general, correctly evaluate the actions of the characters. A five-year-old child develops a keen interest in the content of the work and in understanding its inner meaning.
Children look at pictures-illustrations using the technique of correlating phrases of the text with the pictures. For example, before re-reading fairy tales "Geese and Swans" children of the fifth year of life look at pictures in a toy book (panorama). The work of the teacher in the classroom to look at this panorama book may consist in reading a tiny passage (naturally, one that has an illustration) and asking the child to show a picture that corresponds to what was read. But the opposite option is also possible: the teacher shows the picture and asks the child to remember which moment from the fairy tale is depicted here.
In senior preschool As children age, they begin to become aware of events that were not in their personal experience; they are interested not only in the actions of the hero, but also in the motives of the actions, experiences, and feelings. They are able to sometimes pick up on subtext. An emotional attitude towards the characters arises on the basis of the child’s comprehension of the whole picture of the work and taking into account all the characteristics of the hero.
Work in the senior group is aimed at developing aesthetic taste: children are taught to understand the content work of art, the artist’s intention, some means of expression inherent in different types of art.
In the preparatory group Children are already able to evaluate picture illustrations: answer questions (“Did you like the picture or not?”, “Why?”). Children's assessment of various illustrations becomes more reasonable if they are taught to examine and compare illustrations by different artists for the same literary work.
Older preschoolers acquire the ability to perceive works of various content, and not just those that have an entertaining plot or depict some kind of action. At the same time plot picture they are now able to perceive differently than in more younger age, - they can guess a lot, imagine a lot; The knowledge children acquire and new ideas about the phenomena of life help.
Book illustration allows you to lead children to an in-depth perception of the content of the text. In this case, the teacher’s questions play an important role, establishing a connection between the content of the picture and the text listened to. So, for example, when analyzing the image of the hero (“Uncle Styopa”, S. Mikhalkova), the teacher, showing illustrations, draws the children’s attention to the conveyance of the characteristic appearance of the hero, and also asks questions that reveal individual properties of Uncle Styopa’s character and his actions. The teacher helps children make simple conclusions and generalizations, and draws their attention to the main thing.
Verbal words are used methodological techniques in combination with visual:
acquaintance with the writer: demonstration of a portrait, a story about his work, examination of books and illustrations for them;
viewing of filmstrips, films, and transparencies based on literary works (possible only after familiarization with the text).
At the age of 6-7 years, the mechanism for understanding the content side of a coherent text, which is distinguished by its clarity, is already fully formed.
Preschool children should be introduced to works of art. “The perception of art is an active process, which includes motor moments (rhythm), emotional experience, and “mental action”, which has a particularly great importance in preschool age."
Introducing senior children to portrait painting.
PLAN
1. Introducing children to portrait painting as a means of comprehensive education and development of preschool children.
2. The objectives of familiarizing preschoolers with works of portraiture.
3. Principles for selecting works of fine art for introducing portrait painting to preschool children.
4. Methods and techniques for introducing children to portraiture
5. Literature
6. Practical part Lesson on familiarization with portraits in the preparatory group “Excursion to the Museum of Russian Portraits”
1. Fine arts- this is a world of beauty! To learn to understand fine art, you need to master the language of fine art, understand its types and genres.
Introduction to the world of art is the most important component of pedagogical activity.
Portrait is a genre of fine art characterized by the depiction of one person or a group of people. In addition to external, individual resemblance, artists strive in a portrait to convey the character of a person, his spiritual world. There are many types of portrait. The portrait genre includes: half-length portrait, bust (in sculpture), full-length portrait, group portrait, interior portrait, portrait against a landscape background. Based on the nature of the image, there are two main groups: ceremonial and chamber portraits. As a rule, a ceremonial portrait involves a full-length image of a person (on a horse, standing or sitting). IN intimate portrait waist, chest, shoulder images are used. In a ceremonial portrait, the figure is usually shown against an architectural or landscape background, and in a chamber portrait, more often against a neutral background.
Portrait painting- one of the most difficult and significant genres in fine art. Portrait is a complex genre of painting. Understanding it requires children to have a certain social experience, knowledge both about the person himself, his emotional and moral manifestations, relationships with society and expressing this verbally (in speech) and non-verbally (facial expressions, pantomime), and about the visual arts, his language, ways of creating artistic images. Therefore, long-term work with children is required, the content of which will include two areas.
The first is the formation of ideas about a person, his feelings and emotions, moral attitude towards many phenomena of life, expressed internally and externally.
The second direction is the gradual formation in children of an understanding of the language of the pictorial image of a portrait. The first direction will be carried out in different classes, in games, everyday life, and everyday activities. The second is in classes on familiarization with portraits and in artistic activities.
It is recommended to begin acquaintance with the portrait genre after classes devoted to landscape and still life, and before classes devoted to genre and historical painting. Each lesson should be devoted to one portrait, but at the beginning of the lesson it is worth looking through in sequence those portraits that the children met in previous lessons.
When getting acquainted with the portrait, the child has the opportunity to feel like either a peasant boy falling asleep in nature, or a cheerful soldier, or a mischievous “Dragonfly”, or children rushing to a masquerade party. The ability to put yourself in the shoes of another, to feel their joy, surprise or grief, generates a sense of interest, ownership and responsibility. Living and experiencing many lives creates the possibility of empathy and understanding. By getting to know another, the child gets to know himself more deeply; Through the experience of feelings and relationships of other people, he learns to recognize, clarify and correct his emotions and feelings. Thus, children develop and strengthen the ability to understand the people around them, showing them kindness, a desire for communication, interaction, sensitivity and caring. Thanks to familiarity with the portrait, the child becomes familiar with the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, his ancestors, class and national relations in society, the professions, life and appearance of people of different times , their relationships, moral norms and rules.
Research by psychologists allows us to establish that portraiture as a genre of painting is accessible to the aesthetic perception of children from the age of 4. At this age, they emotionally respond to the expressive image of the portrait (smile, laugh, stroke it, etc.), show positive interest in it, use personal experience, by association with which they come up with situations close to their personal life. Being carried away by the general content of the portrait, children at this age cannot yet fully explain the preference for choosing one or another portrait. However, some means of expression are already accessible to their understanding. Thus, in determining the emotional state of a person in a portrait, the main thing for them is the general facial expression, less often - the eyes. Children are able to perceive and name the emotions depicted in the portrait - “smiling”, “laughing”, “crying”. At a primitive level, children also have an aesthetic assessment of the portrait, but it is not reasoned. Children often call insignificant details such as clothes, hair, lace, etc. “beautiful.” They do not yet have knowledge about portraiture as a genre of painting and its means of expression. For preschool children, the most suitable for a harmonious perception of painting are female and male portraits, as well as portraits of different ages (children, youth, adults and elderly people).
In the middle group, children are first introduced to portraiture as a genre of painting. The main tasks of the teacher in this process are:
Arouse in children interest in the portrait, a desire to examine it carefully; emotional response to the mood of the depicted people; comprehend emotions and feelings, attitude towards what is perceived, feel the joy of the artist’s skill and talent; correlate what is perceived with one’s own feelings and experience, express one’s experiences and sensations.
Lead children to understand that in a pictorial portrait the artist depicts a real, specific person (or group of people), expressing his feelings and attitudes towards him; without destroying the integral artistic image, introduce children to some of the means of expressiveness of a pictorial portrait, thereby deepening their understanding of the meaning of the artistic image; teach children to peer into the face of the person depicted, to see his internal emotional state through the external expression of the eyes, eyebrows, lips, that is, to “read” the drawing, since it is the face that clearly expresses the person’s mental state, his individuality; draw children's attention to the expressive properties of gesture (movements of arms, legs) and posture, their unity with facial expression, as well as with the coloring of the portrait, which helps to understand the mood of the person depicted and the artist’s attitude towards him; lead children to see some elements of the portrait composition: canvas format, face portrait, under-chest portrait, portrait with a simple pose and hand gestures.
At a level accessible to children, form an idea of the portrait as a special genre of painting and some of its types: (female, male, different ages), the language of painting, the sequence of viewing a portrait; enrich children's vocabulary with emotional-aesthetic, art-historical terms, figurative figures of speech that children can use in their judgments; develop a sense of the relationship between pictorial images and images of other arts based on the emotional mood reflected in them.
Acquaintance with portrait painting in this group should begin when children already have some ideas about painting and its genres such as still life and landscape. Usually this is the second half of the year.
2. An important task of aesthetic education is to find effective methods of teaching children to understand the uniqueness of expressive means of different types of art.
Research by psychologists allows us to establish that portraiture as a genre of painting is accessible to the aesthetic perception of children from the age of 4. When discussing a portrait with children 4-5 years old Special attention you need to pay attention to the holistic emotional perception of the portrait, the beauty of the picture in general and in detail, the child’s personal attitude towards the person being portrayed (does he like the portrait; would like to talk; if you don’t like it, then why) With children 6-7 years old, in addition to the above, you need to discuss the attitude the author to his model, the psychological and social characteristics of the model, compare this portrait with the previously considered paintings (similarities and differences), including considering and comparing the artistic means used by the author.
Artists do not paint portraits specifically for children, so selecting them for use in the pedagogical process is quite difficult.
3 Selection principles:
Firstly, these must be highly artistic works both in content and in means of expression.
Secondly, the artistic image of the portrait in terms of content and form of the image should be understandable to children and close to the level of their emotional experiences. You should select portraits with a clearly presented expression of emotional states, shown through the relationship of facial expressions, gestures, and postures.
Thirdly, you should select portraits that are diverse in type, means and manner of depiction.
Stages of work:
At the first stage of working with preschool children, it is necessary to introduce them to portraiture as a genre of painting, showing its difference from other genres (still life, landscape). Children look at a portrait - a face with a pronounced expression (for example, laughs, rejoices, is surprised). Then a chest portrait can be offered for consideration, where, along with the emotional state expressed on the face (facial expressions), hands are presented in some movement or gesture.
At the next stage, portraits can be selected that show the relationship between facial expressions, hand gestures, poses, and where clothing emphasizes the person’s social role. A more difficult stage will be to familiarize children with a portrait, where the environment brings a certain addition to the image and contributes to a deeper understanding of its idea.
The peculiar distinctive features of portraits are that the portrait must convincingly and truthfully convey the external appearance of the person depicted, express the person’s character traits and his state of mind, determined by the artist’s plan; the portrait reflects the general typical features of an entire group of people of the era to which the person being portrayed belongs.
Despite the fact that the portrait genre is difficult for preschool children to perceive, work on introducing Russian genre painting in kindergarten has shown that preschoolers show interest in portraits of people and try to understand the mood conveyed by the artist by facial expressions and hands
Classes to familiarize preschoolers with portrait painting are structured somewhat differently than with genre and landscape painting, both in structure and in the methods of their implementation. This is due to the peculiarity of the portrait genre.
To teach to understand and feel works of portraiture, it is necessary to help children master the features of the visual language of this genre. ...subject to systematic meetings with works of portraiture and organized conversations.
Conversations about portraiture were based on three groups of questions:
Questions that encourage children to have a holistic perception, revealing the content side of the picture: “Who is depicted? What can you tell about him (her)? Who (what) was noticed first in the picture? What else is shown? What did these objects (background) tell us about the person?” When looking at a portrait, you can ask questions that go beyond its content: “What is the girl thinking about? Where was she? What will he do? Such questions complement the storyline, help to understand a person’s emotional state, and develop the child’s imagination.
Questions that allow you to understand the emotional state, mood, feelings of the person depicted: “What did the person’s face say? Why did the artist depict him like this? What do the eyes say? What “secret” did a hand, clothing, detail reveal in a person?”
Questions that help children identify means of expression (color, flavor, composition: movement, pose, location, background, detail, light and shade, etc.): “Why is the tone of the picture? Why is one part of the face light and the other dark? Why did the artist depict a person in such a pose?”
By asking questions, the teacher reveals to the children the close connection between content and means of expression: muted, dark tones - in paintings with sad content, bright, saturated - in joyful ones, color contrasts are used to highlight the main thing. During the conversation, explanations, comparisons, methods of emphasizing details, the method of adequate emotions, the method of reviving emotions with the help of literary and song images, the method of “entering” into the picture, the method of musical accompaniment, and gaming techniques were widely used.
Explanation is widely used during the first conversations to clarify children's ideas.
Comparison. This technique promotes the development of mental actions: analysis, synthesis, inference. Comparing works of different moods, we paid attention to the dependence of the means of expression on the content of the general mood of the picture.
Accentuation of details. The essence: when perceiving a portrait, the entire image is covered with a sheet of paper, leaving only the eyes...or some other detail. This helps to emphasize the expressiveness of an important part of the portrait, focus attention on it, and help children establish the relationship between the part and the whole. Questions asked of children help reveal the meaning of the paintings.
4. The method of adequate emotions is aimed at evoking in children feelings and moods that correspond to the state of the person depicted in the picture.
Using the technique of “entering” the picture, children are asked to imagine themselves in the place of the person depicted in the portrait. This enlivens perception, awakens the imagination, evokes feelings of empathy and involvement.
Musical accompaniment method. When viewing a portrait, music often sounds, the nature of which corresponds to the content and mood of the picture. This facilitates the process of perception and makes it deeper. Music can precede the perception of a portrait or be the background for a story between the teacher and children about the person depicted.
Game techniques help to arouse interest in the work, focus children’s attention on the part of the portrait that is necessary for perception (“Make a guess about your hand (eyes, clothes, etc.), and we will guess”; “Determine which portrait this music suits "; "Come up with your own name for the portrait"; "Convey in motion the position of the hand (head, etc.) of the person depicted in the picture.)
The final conversation on viewing the portrait is varied. It may include the teacher’s story about his attitude to the portrait, reading relevant poems, singing songs, and children expressing their opinion about the picture, about the thoughts and feelings that arose in connection with this.
Thanks to familiarity with the portrait, the child becomes familiar with the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, his ancestors, class and national relations in society, the professions, life and appearance of people of different times , their relationships, moral norms and rules.
Thus, the portrait genre of painting reveals the world of feelings and people’s lives. This is extremely important for children to understand the emotional sphere of people and human relationships. In the process of familiarizing themselves with a portrait, children gradually develop an aesthetic appreciation of the person whose image is conveyed by the artist, graphic artist, or sculptor. Therefore, in preschool age it is necessary to make maximum use of the enormous possibilities of fine art, which affects the child’s inner world, expands his emotional experience, and teaches him to understand the aesthetic richness of life.
5. Literature
1 Volynkin V.I. Artistic and Aesthetic Education and Development of Preschool Children / V.I. Volynkin - Rostov n/D, 2007.-P.14-44.
2 Approximate general educational program for preschool education from birth to school, edited by N. E. Veraksa, T. S. Komarova, M. A. Vasilyeva Publishing house MozaikaSintez Moscow, 2014
Program content:
To consolidate children's knowledge about painting genres. Clarify knowledge about portraiture. To consolidate and expand the concepts of portraiture: portrait of a man, woman, child, self-portrait, group portrait. Learn to see and convey expressive capabilities colors when depicting a portrait: conveying the mood, character of the hero, the artist’s attitude towards him, which is the main thing in the portrait.
Material: Self-portrait of Vasily Tropinin, reproductions of his works (portrait of the artist’s son Arseny, “The Lacemaker”, “Gold Seamstress”, reproductions of works (portraits) by V. Serov “Mika Morozov”, B. Kustodiev “Portrait of the Artist’s Daughter”, reproductions of portraits painted by I. Repin, A Venetsianov, Orast Kiprensky, Leonardo da Vinci “Gioconda”, I. Kramskoy “Unknown”, P. Sokolov, V. Vasnetsov and reproductions of self-portraits of artists, a set of postcards with portraits by various artists.
Lesson plan.
1. Repeat the definition of genres of painting.
2. Meet the Moscow portrait painter Vasily Andreevich
Tropinin.
3. Compose a story based on the portrait of the artist’s son, Arseny.
4. Consider the portrait of V. Serov’s work “Mika Morozov” and compare 2
portrait: Arseny and Mickey Morozov.
5. Write a story based on the portrait of Mickey Morozov. (Fantasy).
6. Game “Magic Chest”
7. Consideration graphic portrait daughter of B. Kustodiev.
8. Definition of a graphic portrait and an artist-painter and graphic artist.
9. Examination of different portraits: male, female, child, group, self-portrait.
10. Game “Determine which portrait
Q.-What is a landscape?
Scenery.
see: in the picture
A river is drawn
Or spruce and white frost,
Or a garden and clouds,
Or a snowy plain
Or a field and a hut,
Required picture
It's called "landscape".
M. Yasnoe
P. - When trees, houses, rivers, nature are drawn in the picture.
V. - What is called a still life?
Still life.
If you see in the picture
Cup of coffee on the table
Or fruit drink in a large decanter,
Or a rose in crystal,
Or a bronze vase,
Or a pear, or a cake,
Or all items at once,
Know that this is a “still life”.
R. - If the picture shows various items, vegetables, fruits - the picture is called “still life”.
V. - And the third type of painting is called portraiture.
Portrait. M. Yasnov
If you see what's in the picture
Does anyone look at us?
Or a prince in an old cloak,
Or like a steeplejack.
Pilot or ballerina,
Or Kolka is your neighbor,
Required picture
It's called a "portrait".
V. - Now look at this picture and tell me what genre it is
applies?
R. - This painting belongs to the genre of painting - portrait.
Progress of the lesson:
V. - Today I will be a tour guide. I invite you to the museum. And before we start our excursion, I want to know: What genres of painting do you know? R. - Landscape, still life, portrait.
(I am exhibiting a self-portrait of Vasily Andreevich Tropinin)
R. - The painting depicts an artist.
V. - How did you guess?
R. - He has a palette in his hands.
V. - Is it possible to guess, looking at this picture, what city this guy lived in?
artist?
R. - He lived in Moscow, because the Kremlin towers are depicted in the picture.
and this picture says that the artist V. Tropinin depicted himself. So this is a self-portrait.
We see that this is an artist because he has a palette and brushes in his hands.
He lived in Moscow, as the high towers of the Kremlin and jagged
walls.
The artist V. Tropinin was a portrait painter. He painted many portraits.
On one of them he depicted his son Arseny. This is the portrait.
Q - What is Arseny’s face like?
R - Beautiful, correct, radiant
Q - What do his eyes say?
R - They say that Arseny is smart, cheerful, mischievous.
Q - Guys, did you notice that one part of the boy’s face in the portrait
light and the other dark. Why?
R- With this technique the artist wanted to emphasize the expressiveness of the face
Arsenia.
Q - Who wants to talk about the portrait of Arseny?
Guys, what portraits did we meet and who painted them, what is the artist’s name?
Then I exhibit V. Serov’s painting “Mika Morozov”.
- Guys, look at these 2 portraits and say: Which of these two
older boys?
- Arseny.
- How did you guess?
- By the face, by the look.
- Do you think Mika Morozov wants to sit in a chair?
- No, he wants to play, run.
- What do his face and hands that lie on the armrest of the chair say?
- He wants to run away.
- Let us imagine what Mika did before he sat on the
armchair?
- (Fantasy of 2-3 children).
Q - Guys, since you are so good at imagining, let’s play the game “Magic Chest”.
B - “Here is a magic chest with a silver ball in it
We will go along the road of Beauty. Both me and you."
Everyone who gets a ball will say what beauty he saw at home, on the way to the kindergarten, in nature and would like to draw it like an artist. Maybe you will end up with a portrait, landscape or still life.
After everyone says:
Q - Now let’s take a ride on the beauty carousel:
Children: Barely-barely-barely
The carousels are spinning
And then, then, then
Everybody run, run, run, run.
Hush, hush, don't rush
Stop the carousel.
B - Let's continue our excursion.
We have now looked at portraits that are painted with paints. The artist tries to make everything on the canvas look alive. This is where the word “painting” comes from, and artists are called “painters”. Artists are different:
Some people like to draw with paints, others with pencils, and each of them sees the world in their own way and shows it to us. We look at the paintings, and it’s as if we are listening to the stories of different artists about the people whose portraits they painted. - Now I will show you a picture drawn in pencil. B - This is a portrait of the daughter of the artist B. Kustodiev. Q - Do you like the picture drawn in pencil? Children: - Like (Dislike). Q: - What kind of face does the girl have? Children: - Simple, beautiful, modest.
Q: -What are her eyes like?
Children: - The eyes are large and expressive.
Q: - Such a portrait is called “graphic” because it is drawn in pencil. And the artist is called a “graphic artist.”
Q - What is the name of such a portrait?
R - Graphic portrait.
Q - Today we learned that artists are divided into painters and graphic artists. |
Artists painted portraits of men, such portraits are called male.
B- and if the portrait depicts a woman, the portrait is of a woman, if a child is a portrait of a child.
A group portrait is when several people are depicted in a painting. This set of postcards should be sorted by type of portrait.
(Game “Define which portrait?”)
Today we learned:
1. What is a portrait?
2. What are portraits painted with?
3. What types of portraits are there?
4. What are portraits for?
Literature
Working programm teacher Daily planning according to the program "From birth to school" edited by N.E. Veraksy, T.S. Komarova, M.A. Vasilyeva. Preparatory group. Federal State Educational Standard for Education, 2016
