Portrait project. Portrait is a mirror of the soul

Speakers: Pavel Mikhalev, Alexey Salnikov, Dmitry Efimov, 4th grade students of the MKOU Nizhnemaryinsk Secondary School, Liskinsky District, Voronezh Region

Head: fine arts teacher Olga Ivanovna Subbotina

By drawing children's attention to the role of mothers in the lives of successful, famous creative people, practically teaching how they can see and show the beauty of their mother, express their love for her, the school takes care of the connection between generations, the most important thing - the emotional contact between parents and children.

Creative educational project

"Portrait of a Mother"

Project type: educational, creative, short-term (2 weeks), group.
Project participants: students of grades 1-4, parents of students, a fine arts teacher, high school students in the role of mentors and assistants.
Objective of the project:
1. Understand the role of the mother in the life and creative development of a talented person.
2. To develop the creative potential of students through involvement in artistic activities.
3. Cultivate a caring, respectful, reverent attitude towards women and mothers.
RELEVANCE:
The development of a strong, self-sufficient personality is difficult to imagine without the participation of art.
Creativity teaches a child to see the world in all its fullness and beauty, to love what is near and dear to him, and instills moral guidelines. By engaging in artistic activities, the child masters concepts such as shape, size and color. Develops attention, imagination, creative thinking. Masters specific artistic skills. Introduction to art leaves an imprint of beauty in the soul of a person. The child comes to understand the difference between the beautiful and the ugly, not only in the aesthetic sense, but also in the moral sense.

By drawing children's attention to the role of mothers in the lives of successful, famous creative people, practically teaching how they can see and show the beauty of their mother, express their love for her, the school takes care of the connection between generations, the most important emotional contact between parents and children. And, of course, this has a positive effect on the relationship between family and school: parents and teachers.
Project objectives:
- Introduce children to the works of famous artists.
- Develop a sense of form, color, composition when drawing a portrait.
- Create a desire to draw portraits yourself in watercolors and gouache.
- Cultivate a positive emotional response to the works of artists, joy from one’s own creativity.
Project stages
Stage I Preparatory
- Create conditions for the implementation of the project, select materials, games, manuals, videos, illustrative material, sources of information, presentations.
- Prepare material for productive activities (find information about famous portraits of mothers by prominent artists).
- Make a plan (set a date for the portrait, bring photographs in advance).
- Entering into the topic through studying the proportions of the human face, studying techniques for working with watercolors.
Stage II main Implementation
1 day “Cognitive development”
“Portrait of the Artist’s Mother” - art teacher, children
1 week “Interaction with family”
Campaign “Bring a photo of your mother” (at least on your phone) - art teacher, educators, parents
Day 2 - 4 didactic game “Make a portrait”
Electronic supplement to the textbook on fine arts by T. Ya. Shpikalova. Publishing house "Prosveshcheniye"

Week 2 “Artistic and aesthetic development” “Drawing”
“Portrait of a Mother” - art teacher, children

Day 10-11 “Design activities”
The role of the frame in the picture. Master class for high school students “How to arrange a drawing in a passe-partout”
13-14
Stage III - final “Artistic and aesthetic development” “Interaction with the family” - school exhibition of drawings “Portrait of Mother”

The presentation of the exhibition, timed to coincide with parent-teacher meetings, the video preceded a festive concert dedicated to March 8, cool “lights”. Three children prepared a report and performed in front of a large audience at a school project competition, and then at a school district science and practice conference.

Conclusion

Working on the project allowed students to learn a lot about the world of art and the lives of creative individuals, try their hand at such a complex and interesting genre as portraiture, and gain serious experience in presenting their achievements and public speaking.

"Portrait of the Artist's Mother"

Materials collected by children on the topic

We are all homeless, how much do we need?
What was given to me is what I sing about.
Here I am again at my parents' dinner,
I see my old lady again.

He looks, and his eyes are watering, watering,
Quietly, silently, as if without pain.
Wants to grab a tea cup -
The tea cup slips from your hands.

Sweet, kind, old, gentle,
Don't be friends with sad thoughts,
Listen - to this snowy harmonica
I'll tell you about my life.

I have seen a lot, and I have traveled a lot,
I loved a lot and suffered a lot,
And that’s why he behaved and drank,
That I have never seen anyone better than you...

"Portrait of the Artist's Mother" James McNeil Whistler

American artist James McNeill Whistler entered art history thanks to the painting “Whistler’s Mother” or “Arrangement in Gray and Black. The Artist’s Mother.”

1. The painting was painted due to a quarrel with the customer

In 1871, a Massachusetts artist received a commission from a member of Parliament who wanted Whistler to paint his daughter Maggie Graham. When, after several sessions of posing, the painting was not completed, Maggie abandoned further work. Since Whistler had already prepared the canvas and made sketches, he asked his mother to sit for him for the painting.

2. Whistler's mother originally posed standing up

But standing for a long time turned out to be tiring for the old lady, and she later wrote to her sister: “I stood courageously for two or three days like a statue. But in the end my legs could no longer support me and my son decided to rewrite the portrait, sitting me on a chair.”

3. The picture is bigger than everyone thinks

The canvas size is 144.3 × 162.4 cm. Whistler's mother was depicted almost life-size.

4. The artist himself did not call his painting “Whistler’s Mother”

At that time it was fashionable to name paintings like musical compositions. Whistler was no exception and called this portrait "Arrangement in Gray and Black. The Artist's Mother." The name "Whistler's Mother" appeared later, in colloquial use.

5. Whistler's mother was one of the artist's biggest fans.

A true Victorian, Anna McNeill Whistler was a deeply religious person and always tried to be a good housewife and mother. Becoming a widow at 45, she devoted her life to her children. In 1864 she moved to London to be closer to them, eventually coming to terms with James's bohemian lifestyle. Although the devout Anna was very worried about her son's debauched lifestyle, she supported James, being his model, housewife and even agent.

6. Americans became acquainted with the painting during the Great Depression

During the Great Depression, the painting was exhibited in 13 American cities, also visiting the Chicago World's Fair in 1933. It was at this time that the painting became famous. In 1934, an image of the painting was placed on postage stamps, and in 1938, a 2.5-meter bronze statue was erected in honor of the “Mother of Whistler” in Pennsylvania.

7. During the First World War, the painting was used for political purposes

In 1915, the 199th Overseas Battalion of the Irish Canadian Rangers used the painting during their recruitment drive.

In 1891, the prestigious Parisian Luxembourg Museum acquired the artist's painting. Whistler was delighted, writing: “Just think, you can go and look at your own paintings hanging on the walls in the Luxembourg Gardens. And everyone treats them with respect. It’s like a dream.” He was right. After the acquisition of the painting by the Luxembourg Museum, the artist's reputation greatly improved, as did his popularity among clients.

Travel paintings

Although the painting crossed the ocean several times to participate in American exhibitions, Whistler's Mother was the property of the French government for more than a century. In 1922, the painting moved from the Luxembourg Museum to the Louvre. Sixty-four years later, the popular portrait was placed in the Orsay Museum, where it remains to this day.

The picture frame was also made by Whistler

The artist himself made the frame for the portrait. Its golden hue symbolizes the modest gold wedding ring on his mother's finger.
"Whistler's Mother" became one of the most famous foreign works in America
"Whistler's Mother" was once described as a Victorian Mona Lisa. This painting has become so iconic and famous in world culture that it is often compared to Edvard Munch's The Scream and Leonardo da Vinci's Mona Lisa.

The plot of the film "Mr. Bean" was built around this picture. In the film, Mr. Bean, curator of London's National Gallery, is sent to America to oversee the $50 million (USD) transfer of "The Artist's Mother" to a Los Angeles art gallery. In this story, Mr. Bean destroys a painting with solvent and quietly replaces it with a reproduction. This is how Whistler's painting "Portrait of My Mother" was described by a security guard at a London gallery:
- Actually, my job is to sit in the corner and look at the paintings.
So what can I say about this picture? First of all, it's big. And it's excellent!
Why was she worth this man spending 50 million of your American dollars on her? The answer is simple: this painting is worth so much money because it is a portrait of Whistler's mother.

Whistler was surrounded by an atmosphere of scandal almost all his life. Short, with a loud, harsh voice and a permanent monocle in his eye, dressed scrupulously neatly, extravagantly and with impeccable taste; a brilliant debater who could parry his interlocutor's wit with lightning speed; his antics, words, gestures were the subject of conversation at social dinners; but “... in this dandy walking along the Chelsea embankment, no one would recognize the silent, serious worker in the huge glasses that he had just thrown off in his workshop.”

He was obsessed with a desperate desire for perfection, his demands on himself knew no bounds, everything that seemed unsuccessful to him was subject to immediate destruction. No one worked more on his canvases than he, he “tormented” his models with endless sessions, and yet his works leave the impression of artistry and ease of execution. To the public, Whistler's works seemed sketchy and unfinished. And the closer the artist was to achieving his goal, the tighter the ring of ridicule and ill will closed around him. However, he never gave in, continuing to follow his own path, “he only raised his head higher. He had the character of a fighter, he did not give up in anything and began a formal war, which lasted about twenty years, against his enemy artists, against criticism, against the press, against the public.”

Whistler was born in the small American town of Lowell, but considered St. Petersburg his homeland. Wisgler's father, a railway engineer, built the famous St. Petersburg-Moscow railway. From 1844 to 1849 the whole family lived in St. Petersburg. Whistler was brought there as a nine-year-old boy. The only thing that interested the not very diligent and impatient child was drawing. As an exception, he was enrolled in the “head” class of the St. Petersburg Academy of Arts, where he was the youngest. At the Academy, Whistler studied with little-known teachers, but he often wandered through the halls of the Hermitage, and it was there that his love for the Little Dutch began. One of the most vivid impressions of his childhood was Hogarth's engravings, which he looked at during his frequent illnesses. “I would like to get well soon so I can show these engravings to my art teacher. After all, it’s not every day that you have the opportunity to view Hogarth’s engravings in the originals” - an excerpt taken from the diary of Whistler’s mother, which she carefully kept during her stay in Russia. Whistler would later paint “Portrait of a Mother,” the most famous of his portraits. He will so accurately embody the image of a true American woman, a stubborn, power-hungry puritan, a bearer of the high principles of American morality, that they will begin to reproduce it in the USA even on stamps.

His father also loved painting, he was engaged in icon painting. And as you might guess, young Fyodor’s first teacher of the basics of painting was his father.

Fedor began with icon painting, drawing portraits and woodcuts. He received his primary education at the city school.

When his father died, he went to St. Petersburg, where in 1843 the xylographer Bernadsky took Bronnikov as his student. Working as an engraver, he developed qualities that are important for an artist, such as an eye and firmness of hand; this was useful in his talent as a portrait painter, in his oil portraits.

Then his career as an artist continued with admission to the Academy of Arts, where he studied from 1845-1853. Here he studied under the supervision of Professor Markov. To put it mildly, the young artist was not rich; seeing this state of affairs, Markov tried to help Fedor financially. With the help of his teacher, Bronnikov received a scholarship of 10 rubles. per month.

The talent of the young student was noticed by the teachers, and in 1851 he was awarded the Large Silver and Small Silver medals. He received them for portraits and for the painting “The Return of Ulysses to His Home.” The following year he received a Small Gold Medal for his work “The Sermon of St. John the Baptist in the desert."

The year 1853 brings Fedora, already a Large Gold Medal for the painted icon “The Mother of God of All Who Sorrow.” For this work he earned a pension for a business trip abroad, and next year he is leaving for a trip to Europe. Visited Switzerland, Germany, France, Italy.

Rome left a deep impression on the artist’s soul with its beauty. During this period, the artist began to improve his cultural education, reads a lot, works from life, and studies archeology. And this knowledge is not in vain, it results in such works as: “Horace reads his satires to Maecenas”, “Roman Baths”, “Alcibiades and Aspasia before the Archon”, “Martyr in the Amphitheater Arena”, “Last Supper of the Martyrs”, “Gladiator” -Slav dying in the circus arena” and others.

Bronnikov exhibits at the Association of Peredvizhniki, like many talented artists, such as:

Makovsky, Kuindzhi, Volkov, Levitan, Kramskoy and others.

He became a member of the Society of Peredvizhniki in 1876. He stands out as a master of psychological portraiture.

The artist was not in good health, and the climate of Italy was perfectly suitable for treatment.

Having created his studio in Rome, he paints oil portraits of local residents, city landscapes, genre and historical paintings.

During the time he lived abroad, he became famous and rich. Here in Italy he gets married.

In the art world, Bronnikov is known as a master of psychological portraiture in oils.

He is little known in the vastness of Russia and the CIS. Maybe because of his permanent residence in Italy. But he did not forget his homeland and periodically came to his hometown.

During his life he left a great creative legacy. There are many historical paintings, as well as oil portraits. His paintings can be seen in Russian museums, but most of his works are located abroad, including in private collections.

Vasily Vasilievich Serov

Painter of the realistic direction.
He studied at the drawing school of I. Kulikov in Murom. In 1935-1937 he trained at the Leningrad Academy of Arts. Lived and worked in Murom.
Member of the Union of Artists since 1940. One of the founders of the Vladimir regional organization of the Union of Artists.
The works are stored in the Murom Museum-Reserve

From 1923 to 1924 he studied at the evening art studio under the direction of V. A. Afanasyev in Murom, and from 1925 to 1926 he studied privately with the academician of painting in Murom (he lived and worked as an assistant in his workshop).

“He brought a whole exhibition of his drawings and paintings to Moscow. His works aroused first distrust and then warm approval. It seemed completely incredible that a shy 24-year-old guy who had never studied anywhere could produce such deeply meaningful pictures.”

In 1936, the artist performed at the All-Union Exhibition of Amateur Artists and received first prize for the painting “Education Program”. His paintings “End of the Street” and “Clouds” were highly praised at the republican exhibition in Moscow in 1939.

For participation in a closed competition in 1951, where the work “Behind a School Assignment” was presented, Serov was awarded an Honorary Diploma as an Artist.

The works are in , as well as in museums, , And .

During Soviet times, the artist's works were sold from exhibitions in Japan, the USA, Spain, Holland, Poland, Czechoslovakia, West Germany and West Berlin.

PORTRAIT OF A MOTHER

(1934)
Paper/watercolor
64 x 47 cm
25.20"" x 18.50""

Klimentov Mikhail Ivanovich1889-1969

Artist, born on January 19, 1889 in the village of Altuhovo, Ryazan district, Ryazan province, into a family of hereditary blacksmiths.

About 300 paintings by M. Klimentov were lost during the First World War in Kamenets-Podolsk (presumably taken as trophies by the German occupation forces to Austria-Hungary or Germany).

F. V. Sychkov

The artist was born on March 14, 1870 in the village of Kochelaevo, Narovchatsky. The artist was born on January 19, 1889 in the village of Altukhovo, Ryazan district, Ryazan province, into a family of hereditary blacksmiths.

At the age of 6, the boy’s talent was noticed by the artist F.A. Malyavin. At his insistence, 6-year-old Misha was sent to study in Moscow.

After graduating from high school, he entered the Imperial Stroganov Central Art and Industrial School (dean - K. Korovin, painting teacher V.K. Byalynitsky-Birulya).

In 1909 he was sent as a teacher of drawing and drawing to the women's gymnasium in Kamenets-Podolsk (1909 to 1918(9)). He was a member of the board of the Kamenets-Podolsk Society of Fine Arts, and participated in the exhibition of this society in 1911.

Then (from 1918 to 1941) he taught drawing and painting at the Physical Education Institute and the Oil College of Moscow.

He was a member of the Moscow Union of Artists and participated in exhibitions in Moscow in 1919, 1922, 1934, 1937, 1938. Exhibition in Kislovodsk in 1938. In 1952, an exhibition in Ryazan.

In Moscow in the 1920s he often communicated with Meyerhold. Mikhail Ivanovich and his brother Fyodor received Meyerhold in a room on Yauzsky Boulevard. Sometimes, when they stayed up late, Meyerhold stayed overnight. The room is small, so we slept on the floor on a sheepskin coat.

The last 28 years of M.I.’s life. Klimentov lived in oblivion, in a small village of 12 households, cut off from the outside world by the lack of roads, in a family of relatives.

Mikhail Ivanovich died in 1969 at the age of 80 in his native village of Altuhovo.

Museums: State Museum-Reserve S.A. Yesenina sun. Konstantinovo, Ryazan region; Korablinsky Museum of Local Lore; private meetings.

About 300 paintings by M. Klimentov were lost during the First World War in Kamenets Podolsky (presumably taken as trophies by German occupation forces to Austria-Hungary or Germany). County of Penza province /now Kovylkinsky district of Mordovia/. The hopeless need of a poor peasant who lost his father in childhood, an adobe hut under a thatched roof, bast shoes, a zipun, a homespun shirt, a piece of black bread - this was Fedot Vasilyevich’s lot in childhood. But natural talent, excellent hard work and the assistance of kind teachers opened the way for the teenager to a deep understanding of beauty. The artist’s sympathies and heart were once and for all given to one topic - the life of his native village of Kochelaevo. He glorified the work, holidays of his fellow villagers, and the nature of his native land in his works. In the people among whom Fedot Vasilyevich lived, he saw and appreciated special features - optimism and love of life. “I don’t like it when they cry,” this is how the artist explained his creative position a little absent-mindedly and even naively.

Look closely at the faces in the portrait painter’s canvases. What different people and destinies. Portrait of F.V. Sychkov’s mother, sitting thoughtfully by the window.

Kopytseva Maya (1924-2005)

Maya Kuzminichna Kopytseva- Russian, Soviet artist, Honored Artist of the Russian Federation.

In 1941 she entered the Leningrad Secondary Art School (SHS) at the All-Russian Academy of Arts (as the Institute of Painting, Sculpture and Architecture named after I. Repin was called from 1932 to 1947). In 1942 - evacuation along with the school to Samarkand, then to Zagorsk.

Since 1945 she studied at the All-Russian Academy of Arts. In 1951, she graduated from the institute (workshop of a member of the USSR Academy of Arts, Professor B.V. Ioganson and Professor A.D. Zaitsev). Thesis - "Preparation for exams."

Since 1953 - regular creative trips to the House of Artists' Creativity "Academic Dacha" named after. I.E. Repina. Since the same year - annual trips and work in creative groups organized by the Union of Artists of Russia.

Since 1991 - creative trips to Krasnoyarsk (together with her husband - A.P. Levitin)

Over her long creative life, M. Kopytseva created many works of painting and graphics: still life, landscape, portrait…. Perhaps there is no genre in the fine arts where her talent would not manifest itself. After the artist’s death, the album “Maya Kopytseva. Artist. Personality. Friend". The book contains the artist's works, memoirs, rare photographs, letters, and bibliography.

Pablo Picasso

Portrait of Maria Picasso Lopez, the artist's mother

Dimensions

19.5 x 13.5 cm

Technique

Paper, pencil

Picasso's age is 12 years

Painted in La Coruña, where the Picasso family lived for three years, and Pablo studied at the Instituto da Guarda art school, under the patronage of his father, a teacher at the school.

Little Pablo was very similar to her - not in face, but in physique and temperament. She doted on her firstborn and always supported him in everything. He hated school, he was not interested in anything except drawing, but this did not particularly bother his mother, she always believed that he would be the greatest of the greats. From an early age, she cultivated incredibly high self-esteem in him. According to Picasso's recollections, she convinced the little boy that if he chose a military career, he would definitely become a general, and if he chose the church, then he would become a pope. “But I became an artist and became Picasso.” Such love and faith in her son did not prevent her from being a rather strict, and even oppressive mother. Picasso's biographers believe that Picasso, leaving for Paris, leaving Spain forever, not only aspired to the world capital of art, but also freed himself from his mother's despotism. Picasso's mother occasionally visited her son in Paris, he took her to exhibitions, galleries, and restaurants. He wanted her to taste his fame and success. As a child, she believed in her son’s lucky stars and talents to a much greater extent than her father; his ambitions in art were largely shaped by her upbringing. Doña Maria Picasso Lopez came from a family less noble and wealthy than her husband, Don José Ruiz Blasco, father of Pablo Picasso However, she, according to everyone, as well as according to the recollections of Picasso himself, was much more lively and temperamental than Don Jose. Picasso's mother was small and active, black-eyed and black-haired, with an inexhaustible supply of energy and a strong, rather despotic character. As a child, Pablo Picasso experienced both his mother’s immense admiration for his talented son and the strongest control and pressure on her part.

Portrait of Maria Picasso Lopez

Technique

Canvas, oil

Accordingly, the portraits of his mother that Picasso made in the early years of his apprenticeship reflect these aspects of her character. In some paintings she is embodied in the gentle and light image of a good-natured matron, in others she is the image of a strict and strong-willed person with harsh facial features. Subsequently, the image of his mother constantly appears in his paintings, for example, in , when he often depicts dramatic scenes with detached characters, and these characters are often the mother and the opposed, detached figure of the son.

Mother and adult son

After the death of her husband in 1913, Maria began to live with her daughter, Picasso’s sister, Lola, she brought with her twenty of her son’s paintings and hung them on the walls - she created her own temple. When he left for France, their contact was not interrupted. They corresponded, he wrote her short letters and messages, she answered him with lengthy messages. He visited her several times in France, he wanted her to witness his success, he took her with him to restaurants, to exhibitions, to awards shows and even to casinos; Wanting to show off in front of her, he once spent a fortune in an evening.

The son brought his women to show his parents. They liked Fernanda Olivier very much; her father was still alive then. He only introduced Olga Khokhlova to her mother; by that time, her father had already passed away several years ago. Dona Maria greeted Olga much more coolly; it is known that she warned her daughter-in-law that she was unlikely to be happy in this marriage - she knew very well that her Pablo could not love anyone but himself, and nothing except his art.

Pablo Picasso did not attend his mother's funeral in 1939 - shortly before that he vowed that he would not set foot in Spain while the Franco regime ruled there.

SO SPEAKED PICASSO. QUOTES

Leave for tomorrow only what you don’t mind leaving unfinished after your death.
Art is magic that helps us endure the torment of everyday life.
Life is extended only by work and women.
I like to live poor... but with a lot of money in my pocket.
Bad artists borrow. Good artists steal.
Good taste is the worst enemy of creativity.
Art is a lie leading to the truth.
And among people there are more copies than originals.
Everyone is trying to understand painting. Why don't they try to understand birdsong?
Everyone has the right to change, even artists.
There are artists who turn the sun into a yellow spot,
but there are others, those who, with their art and their minds
turn a yellow spot into the sun

Diya Bekaryan

Project: “Artistic dynasties. Fathers and Sons.". Armenia. Blooming almond. (painting, graphics).

Diya Bekaryan's life was tragically cut short in 1951. A student of Osmerkin and Savinov, she graduated from the Academy of Arts in 1938. Then there was the war, evacuation to Armenia, and the only personal exhibition in Yerevan. But there remained paintings, sketches of scenery for performances, amazing creativity remained, feminine and subtle, exciting art lovers and connoisseurs with its coloristic richness.

Diya Bekaryan's exhibition was prepared by her daughter, Dzovinar Bekaryan.

Albrecht Durer

Albrecht - German And , one of the greatest masters of Western European . The future artist was born on May 21, 1471 in , in the family of a jeweler , who arrived in this German city from in the middle , And . The Dürers had eighteen children, some, as Dürer the Younger himself wrote, died “in their youth, others when they grew up.” In 1524, only three of the Dürer children were alive - Albrecht, And The artist was the third child and second son in the family. Albrecht Dürer the Younger remembered his mother as a pious woman who lived a difficult life. Possibly weakened by frequent pregnancies, she was sick a lot

Having dreamed of painting since childhood, Albrecht insisted that his father send him to study as an artist. At the turn of the century, Dürer worked a lot in the portrait genre. Here Dürer continued the tradition that had developed in the painting of Northern Europe: the model is presented in a three-quarter spread against the background of a landscape, all details are depicted very carefully and realistically. Portraits of Albrecht Dürer the Elder (1427-1502) and Barbara Dürer (c. 1451-1514) were created in early 1490s. At this time the artist completed his apprenticeshipand was going to complete his education and travel. The portraits are famous for the fact that the artist, without embellishing the appearance of his parents, showed signs of human aging. Dürer's autobiographical notes, which left information about the difficult life of his father and mother, testify to the love and respect that the artist had for them. The portraits were created by Dürer either to show the artist's skill to his parents, or as a gift before setting off on a trip to complete his studies. The portrait of Barbara Dürer has been kept in the German National Museum (Nuremberg) since 1925.

Portraits of Barbara Dürer from 1514 and 1490 (reversed)

Attractive, according to her son, in her youth, by the time the portrait was painted, Barbara looked like a sickly woman over 40 years old. She is depicted in a three-quarter turn against a green background. Barbara's outfit: a red dress and white headdress of a married woman with a long ponytail thrown over her shoulder, contrasts with her husband's modest dark suit. The picture was cropped on the left, thus disturbing the balance of the composition and removing part of the woman's cap.

The only signed portrait of Barbara Durer, where the artist’s mother was drawn by him at the age of 63. Having compared the mirror-inverted portrait of 1490 and the drawing of 1514, experts considered them to be images of the same woman.

Vasily Grigorievich Perov

“To be a complete artist, you need to be a creator; and to be a creator, you need to study life, you need to educate your mind and heart, educate not by studying government models, but by vigilant observation and exercise in reproducing types and their inherent inclinations... An artist must be a poet , a dreamer, and most importantly, a tireless worker... Anyone who wants to be an artist must become a complete fanatic, living and feeding on art and only art.” Vasily Grigoryevich Perov (surname given at birth - Vasiliev; December 21, 1833, Tobolsk - May 29, 1882, Kuzminki village, now within the city of Moscow) - Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. V.G. Perov was the recognized leader of the Moscow painting school, which was the avant-garde of Russian realistic art in the 60s of the 19th century. In the circles of the intelligentsia he was even called the “Pope of Moscow,” thereby emphasizing that just as the Pope dictates laws from the Vatican to the entire Catholic world, Perov from Moscow dictated laws to the entire Russian artistic world. Vasily Grigorievich Perov was the illegitimate son of Baron Georgy Karlovich Kridener. Despite the fact that soon after the boy’s birth his parents got married, Vasily had no rights to his father’s surname and title. For a long time, official documents indicated the surname “Vasiliev”, given by the name of the godfather. The surname “Perov” arose as a nickname given to the boy by his literacy teacher, an ordinary sexton, who recognized his student with this nickname for his diligence and skillful use of a pen for writing. V. G. Perov completed a course at the Arzamas district school and was sent to the art school of A. V. Stupin (also in Arzamas). In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where he studied with M. I. Scotti, A. N. Mokritsky and S. K. Zaryanko. In 1856 he received a small silver medal for a sketch of a boy’s head submitted to the Imperial Academy of Arts.
Subsequently, the Academy awarded him other awards:

Portrait of A. I. Kridener, born. Ivanova, the artist’s mother.
1876.

Vasily Ivanovich Surikov.

Vasily Surikov was born in 1848 in Krasnoyarsk. His family belonged to an old Cossack family: Surikov’s ancestors, together with Ermak, came to “fight Siberia,” and the artist was very proud of this

While studying at the Academy of Arts, Surikov tried to create works on themes from the Russian historical past, but only after graduating from the academy, in 1878, did he begin to create his mighty historical canvases.

In 1881 he completed “The Morning of the Streltsy Execution”, in 1883 - “Menshikov in Berezovo”; in 1887 - “Boyaryna Morozova” (the first sketch dates back to 1881).

In 1895, he completed “The Conquest of Siberia by Ermak,” and in 1899, “Suvorov’s Crossing of the Alps.”

These are the main works of Surikov, created by him on historical subjects.

Surikov’s paintings amaze us with their amazing insight into the “living past,” and not only with the appearance of buildings, clothes, and decoration, but also with the recreation of the types, feelings and experiences of people of that era. This property of Surikov is extraordinary.

In 1877, Surikov settled in Moscow and lived there until the end of his life. He repeatedly traveled to his homeland, Siberia, and these trips always inspired him for further work.

A bearer of true nationality, Surikov was at the same time completely alien to nationalist tendencies. In his art, he relied on the achievements of the old Italian and Spanish masters, whom he deeply revered, and spoke very highly of modern French painting. The artist’s responsiveness and breadth of worldview were clearly expressed in the wonderful paintings and graphic works he performed during his trips to Italy and Spain, as well as dedicated to the life of the small peoples of Siberia. Surikov was also open to new trends and searches for art of the early 20th century, until the last days of his life sympathetically following the aspirations of young people, who in turn fervently revered the great Master.

Portrait of P. F. Surikova (the artist’s mother).
1887.

Henryk Semiradsky

one of the largest representatives of late academicism in Russia .

The future painter was born on October 24, 1843 in the Novo-Belgorod settlement, located near Kharkov. Semiradsky's father was a regimental doctor in the tsarist army. The future artist began his studies at the second Kharkov gymnasium. It was there that he received his first painting lessons. Bezperchiy D.I. became Semiradsky’s teacher. - student of Bryullov.

Then he studied in Kharkov and St. Petersburg, but spent most of his active creative life in Rome. He is best known for his monumental paintings on subjects from the history of ancient Greece and Rome; also successfully worked in the genre of chamber idyll, landscape and portrait. He was involved in the design of theaters and private interiors.

Academician and professor of the Imperial Academy of Arts, painting academies of Berlin, Stockholm, Rome, Turin, corresponding member of the French Academy of Fine Arts.

The works are mainly scattered across museums in Poland, Ukraine and Russia, as well as private collections in European countries. The artist's personal exhibitions were held in Poland in 1903, 1939, 1968 and 1980, but a consolidated exhibition that would create an encyclopedic understanding of Semiradski has not yet been held. Many works have been lost, for example the paintings of the Cathedral of Christ the Savior in Moscow.

The painter spent most of his life in Rome, and he only occasionally came to Russia. Despite this, the St. Petersburg Academy of Arts appreciates Semiradsky and honors him with various awards. Thus, in 1873, the painter was awarded the title of academician for the painting “Christ and the Sinner,” which made him world famous.

Portrait of the artist's mother.
1887.

Rembrandt. Portrait of a mother

Petrov-Vodkin Kuzma Sergeevich

Russian artist, art theorist and writer.

Born in Khvalynsk (Saratov province) on October 24 (November 5), 1878 in the family of a shoemaker; managed to receive an artistic education with the support of local merchants. He studied in the painting and drawing classes of F.E. Burov in Samara (1895–1897) and the Stieglitz Central School of Technical Drawing in St. Petersburg (1895–1897). In 1905 he graduated from the Moscow School of Painting, Sculpture and Architecture, where V.A. Serov was among his mentors. He attended A. Ashbe's studio in Munich (1901) and private academies in Paris (1905–1908).

During these same years, he traveled a lot in Western Europe and the Mediterranean, visited North Africa; later, Crimean and Central Asian impressions were also of great importance for him. He experienced various influences from both modern (French symbolism) and ancient (painting of Ancient Rus' and the Italian Early Renaissance) traditions. He was a member of the World of Art and Four Arts associations. He lived in Leningrad, and from 1927 - in Pushkin.

His early paintings, where motifs of a legend or a magical dream predominate (Dream, 1911; Boys Playing, 1911; both works are in the Russian Museum, St. Petersburg), are entirely in the spirit of symbolism. Monumental evidence of creative maturity was the famous painting Bathing the Red Horse (1912) - a simple rural plot was transformed (thanks to the smooth rhythm of forms and sonorous local color) into a poetic generalization about the fate of Russia. The paintings Mother (1913) and Girls on the Volga (1915) are perceived in the same way.

Petrov-Vodkin often (starting from his early imitations of M. Maeterlinck) turned to literature, especially in his later period. His Khlynovsk (1930) and The Space of Euclid (1933) are romantic-emotional, very original in genre - a kind of “fictional autobiography”, which bizarrely combines the features of an adventure novel, a theoretical treatise and memoirs. He also worked fruitfully as a theater artist and teacher (he taught at the school of E.N. Zvantseva (1910–1915) and the Academy of Arts (1918–1933).

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Municipal educational institution

gymnasium No. 15

Open city competition of sociocultural projects

spiritual and moral development of municipal students

educational institutions of Volgograd

“Ascent to oneself, to the Other, to the world”

Nomination "Artistic and aesthetic project"

PROJECT TOPIC

« Portrait as a mirror of the soul"

Completed:

Kadushkina Anastasia Valimovna

Koltakova Rimma Aramovna

Iskakov Eldar Rafailievich

9b grade students

Project Manager:

Babayan Yulia Yurievna,

English teacher

1 qualification category

Volgograd 2014

INTRODUCTION........................................................ ........................................ 3-6

CHAPTER 1. Types of fine arts.................................... 7-8

CHAPTER 2. Genres of painting.................................................... ............ 8-11

2.1. Portrait as a genre of painting................................................................... ...... 12-14

CONCLUSION................................................. ................................. 15

BIBLIOGRAPHY................................................ .................. 16

ANNEX 1

APPENDIX 2

APPENDIX 3

APPENDIX 4

INTRODUCTION

The world of art is rich and complex. We look at paintings and statues, listen to symphonies, read novels, stop in front of majestic buildings, watch the movements of dancers, perceive theater performances and films. And all these very different, seemingly incompatible phenomena are denoted by one word - art.

Art (from the Old Slavonic iskousiti) is artistic creativity in general.

There are the following types of art: visual, musical, dance, cinema .

The subject of our conversation, of course, will be fine art and the people who do it (Appendix 1, 2)

The artist - who is he?

If we consider the word artist specifically as a profession, then it means a person who earns money through the practice of fine art. But the artist’s creativity may not generate income; fine art may be just a hobby.

The first artists appeared in Spain and Southern France in primitive caves approximately 30,000 - 10,000 BC. e. They painted colored drawings on the walls, unaware of the later appearance of various types of art. The reasons for the emergence of artists arose from the need to convey information about everyday life, hunting and other social spheres of human life.

From these first signs of the awakened thirst in man for the artistic exploration of reality, fine art, developing over centuries and millennia in close connection with the development of society and especially its spiritual culture, is becoming more and more widespread and reveals its practically inexhaustible creative possibilities.

Relevance of the project

Observations show that we often find it difficult to depict a person, so we try to avoid this image in independent creative activity or create it schematically. Based on this, it is necessary to learn how to draw a person, showing a variety of ways of depicting. The impressions I received from the perception of the art of portraiture prompted me to take up a brush and try myself as a portrait artist, reflecting my feelings and ideas about the people around me.

This topic is based on emotional and sensory perception. Therefore, at first I wanted to draw portraits of people close to me. It is better to draw such portraits from a live model, but you can use photographs as life or draw from memory.

Emotional experiences associated with the image of a loved one contribute to the manifestation of interest in visual activity, concentration of attention and feelings on the created image.

Objective of the project:

Enrich sensory experience through the aesthetic perception of portraiture, develop creative abilities.

Tasks:

To clarify knowledge about the genre of portraiture, its types and features.

Learn to give an emotional and personal assessment of a work.

Improve technical skills in depicting a person.

Learn to understand other people, convey their inner world and express your attitude towards the person depicted in the portrait.

Create a book "Portrait as a mirror of the soul."

Project type: creative, long-term, group.

Stages of work on the project.

Stage

Children's activities

Activities of a teacher

Preparer

nal stage

1. Collection of information, selection of photographs, visit

Art salon.

2. Improve technical skills in depicting a person.

1.Reads stories and poems describing a person’s appearance.

2. Designs an exhibition of works.

Formulated

solving problems

2. They recognize and take the problem personally

3. Accept the project objectives

2. Formulates the problem.

Problem: difficulty depicting a person

Goal: draw a portrait of your mother or loved one.

3. Formulates tasks:

Find out what a portrait is

Select visual materials

Determine image sequence

Systematization

tion of information about portraiture

Dialogue conversations “What does a portrait tell about”, “A person’s mood in art”, “Color in a portrait”, “The image of a mother in works of art”

Conducts discussions “What does a portrait tell about”, “Human mood in art”, “Color in a portrait”, “The image of a mother in works of art”

Practical activities

1. Select visual materials

2. Together they draw up a diagram of the sequence of the image of the chest-length portrait

3. Experimenting with paints in search of human skin color

4. Drawing according to the chosen sequence

1. Provides various visual materials

2. Provides practical assistance (if necessary)

3. Conducts experimental activities together with children

4. Organizes work

Decor

Create frames for portraits of loved ones.

Helps with the design of an exhibition of works

Presentation

1.Agree on the protection of the project.

2. Present the product of the activity (a book with your works)

Takes part in project defense

CHAPTER 1. Types of fine arts

The most important feature of fine art is its amazing ability to convey all the diversity and complexity of life, all its dynamism through the depiction of one event or moment.

Truly beautiful works of fine art have a huge ideological and emotional impact on the viewer and its specific features are uniquely revealed in each individual form.

When they talk about types of art, they mean different works that can be united according to some common characteristic. The main types of fine arts are:

Painting (work done in color, paints, on a plane)

Graphics (work done with lines, strokes, on a plane without paints)

Sculpture (work done in volume by carving, sculpting, casting)

Architecture (the art of creating buildings, structures, complexes of structures)

Decorative and applied arts (the art of decorating)

Until the 19th century, the three main types were considered:

Architecture (architecture)

Sculpture (carving)

Painting (painting vividly)

Then another form of art appeared

Graphics (drawing)

sculpture(Latin sculptura, from sculpo - I cut, carve), sculpture, plastic, a type of fine art, the works of which have a three-dimensional, three-dimensional shape and are made of solid or plastic materials.

painting, a type of fine art, works of art that are created using paints applied to any hard surface.

architecture(Latin architectura, from Greek architéktôn - builder) (architecture), the art of designing and constructing buildings and other structures (as well as their complexes) that create a materially organized environment.

graphic arts(Greek graphikë, from gráphô - I write), a type of fine art that includes drawing and printed artistic images (engraving, lithography, monotype, etc.), based on the art of drawing, but having their own visual means and expressive capabilities...

arts and crafts, the field of decorative art: the creation of artistic products that have a practical purpose in public and private life, and the artistic processing of utilitarian objects (utensils, furniture, fabrics, tools, vehicles, clothing, jewelry, toys, etc.).

CHAPTER 2. Genres of painting

In the process of the development of fine art, genres of painting were also formed. If in the paintings of cavemen one could only see what surrounded them, then over time the painting became more and more multifaceted and acquired a broader meaning.

Genre – in the theory of fine arts, a field of art limited by the range of themes, objects of depiction, and the author’s attitude to the subject.

In modern painting there are the following genres:

Animalist – genre of fine art, the main characters are animals. Ancient – animalistic(from the French Animale - animal). It was to him that primitive artists paid the most attention. In the ancient world, images of animals were symbolic. The Sphinx is the personification of the unity of animal and man, in Assyrian culture it is the image of a winged bull with a human head, in Greek culture it is a centaur. Animalism is associated not only with fine arts, but also with literature. The famous writer and animal painter Evgeny Charushin wrote and illustrated many of his works. Works of the animalistic genre call for protecting, loving and studying the animal world and nature.

Caricature from Italian caricatura, from caricare – to exaggerate – a special genre of graphic art based on the use of elements of satire and humor. In a caricature, any external or internal features of characters or phenomena are deliberately exaggerated and aggravated. A caricature can combine the real and the fantastic, the plausible and the absurd. In this case, a specific goal is always pursued - ridicule of a certain person or phenomenon. Graphic caricature becomes most widespread during periods of social conflicts: uprisings, wars, revolutions.

Scenery– from French paysage, from pays – country, locality - in the visual arts, a genre or a separate work in which the main subject of the image is nature. Since the Renaissance, landscape motifs have been integral to the image of a person; they only indicate the location of the action, often quite conventionally (as, for example, in Russian icons). Renaissance artists turned to direct study of nature and developed principles for the perspective construction of landscape space.

The landscape genre arose in Europe relatively recently, although in Asian countries it appeared many centuries earlier. The landscape is very rich in varieties: rural, urban, marina (Italian: marina - sea). In 1897, together with Roerich’s painting “The Messenger,” a historical landscape appeared, showing nature in all its antiquity, as if seen through the eyes of our distant ancestors. Works by A. M. Vasnetsov dedicated to the past of Moscow “Simonov Monastery. Clouds and golden domes”, “Red Square”, you can be classified as a historical city landscape. Painted the painting “Transport is getting better” in 1923, B. N. Yakovlev is the founder of the Soviet industrial landscape.

Still life – from French nature morte – dead nature- a genre of fine art (mainly painting and graphics), which is devoted to the depiction of inanimate objects placed in a single environment and combined into a group. A still life can consist of homogeneous objects (for example, only dishes) or combine dissimilar ones (flowers, dishes, fabrics, etc.). Still lifes can also depict objects of living nature, but isolated from their natural environment and thereby turned into a thing (fish on the table, game, etc.). Still life took shape as an independent genre only in the 18th century in Holland. And although this word is translated from French as “dead nature,” still life talks about the beauty of life; comfortable and useful things created by man, about beautiful creations of nature - flowers, fruits, seafood, etc.

Everyday genre - one of the genres of fine art, dedicated to everyday private and public life, usually contemporary with the artist. The everyday genre includes everyday (genre) painting, graphics and sculpture, mostly of small sizes. The flourishing of the everyday genre of the New Age is associated with the growth of democratic and realistic artistic trends, with the appeal of artists to folk life and the work of ordinary people, with the posing of important social issues in art.

The everyday genre includes: paintings, drawings, sculptures that tell about the events of everyday life.

Historical genre, one of the main genres of fine art, dedicated to the recreation of past and present events of historical significance.

Fairy-tale-mythological – a genre of fine art whose heroes are characters from epics, myths, and fairy tales. This is one of the most soulful and mysterious genres.

Battle genre(from fr. bataille- battle) is a genre of fine art dedicated to the themes of war and military life. The main place in the battle genre is occupied by scenes of land, sea battles and military campaigns. The artist strives to capture a particularly important or characteristic moment of the battle, to show the heroism of war, and often to reveal the historical meaning of military events, which brings the battle genre closer to the historical one.

Genres of painting can merge and interact closely with each other. Some genres lose relevance over time, but many, on the contrary, continue to develop along with life.

2.1 Portrait as a genre of painting

Portrait (French)portrait, from obsoleteportraire- to depict) is a genre of art (visual or literary), the purpose of which is to depict a person, his external appearance, and through him the inner world.

In Russian, the word “portrait” corresponds to the word “similar”. By portrait we mean the invention of a specific, specific person or group of people, in which the individual appearance of a person is conveyed, reproduced, his inner world, the essence of his character are revealed.

Portraiture is mainly characteristic of easel art, and is most often used as a genre of painting.

The necessary requirement for each portrait is individual resemblance. This similarity is not limited to just external features. A portrait involves not only an external transfer, but also an expression of the properties, essence, soul of a person, and not just his appearance.

A portrait involves revealing the personality - character, psychology of the model, that is, creating an image of a real specific person. In this case, by the word image we mean an artistic image, an artistic transformation of a real person. Hence, a portrait is an image of a real specific person.

There are many types of portraits. Based on the nature of the image, there are two main groups: ceremonial portrait and chamber.

As a rule, a ceremonial portrait involves showing a person in full height, and in chamber it is used waist,submammary,and shoulder Images. In a ceremonial portrait, the figure is shown against an architectural or landscape background, and in a chamber portrait, it is often against a neutral background.

The main, core component of the conceived portrait image is face. More precisely, facial expression, namely the eyes. Very often, the portrait artist himself composes the facial expression of the hero of his future work, synthesizing all the impressions that arose in him in the process of studying the original and spiritualizing them with his own view of the world.

The portrait image is the result of the interaction between the portraitist and the model. The viewer, looking at the portrait, gets acquainted not only with the person depicted, but also with the artist himself. The same model in the pictorial perception of different portrait painters will look different, understanding of its hero.

The artist can emphasize his closeness to the original or reveal a critical perception of it. This “self-portraiture” is present in any artistic image, in any portrait from the very beginning. The necessity and inevitability of the portraitist’s creative “I” of any image he conceives is obvious. However, it is not only a well-designed face that ensures the success of a portrait painter. But composition also plays a major role in the creative concept of many portrait painters.

By composition of a portrait we mean individuals in the environment, as well as the effective connection of its main components. It is in action - pose, gesture that many essential shades of the character and state of the person depicted can be revealed.

Based on the number of people depicted on one canvas, people are usually distinguished double And group portrait. Paired are called portraits painted on different canvases if they are consistent with each other in composition, format and color. Most often these are portraits of spouses. Portraits often form entire ensembles - portrait galleries, usually these are representatives of the same family; portraits taken after death are called retrospective. Sometimes the class principle (“merchant” portrait) is used in classification.

A portrait, first of all, is required to resemble the person depicted in it. In some cases it does not go beyond the limits of external similarity, in others it reveals to the viewer the character and inner world of the person being portrayed.

A special group is allocated self-portrait is the artist’s depiction of himself.

The main purpose of a portrait is to show the individual characteristics of a given person. The same person looks differently in portraits painted by different artists, depending on the nature of their work or on their relationship to the person being portrayed. It is not without reason that they often assert that every portrait is, first of all, a portrait of the artist. An artist, working on a portrait, not only more or less objectively characterizes this or that person, but usually also expresses his attitude towards him, trying to instill it in the viewer. For the most part, it is not so easy to discern the artist’s attitude in a portrait, for it usually appears in a hidden form, in the form of objective properties of the one whose portrait appears in front of the viewer. Sometimes the artist’s feelings are expressed in a portrait so strongly that they are striking, even completely coinciding with the objective characteristics.

It goes without saying that at different stages of the development of the art of portraiture, different demands were placed on it, and portrait painters faced different tasks. The decision, which was determined by the features of the portrait genre of certain eras, schools, trends.

So, the specificity of a portrait lies in its main features. It is the specific properties of the portrait that distinguish it from other genres of painting. By portrait we mean the invention of a specific, specific person or group of people, in which the individual appearance of a person is conveyed, reproduced, his inner world, the essence of his character are revealed, but unlike graphics or drawing, a pictorial portrait is characterized by sculpting with a brushstroke, rendering in color, play tone and contrast. Portraiture is mainly characteristic of easel art, and is most often used as a genre of painting. This is the specificity of portraiture as a genre of painting ( Appendix 4)

CONCLUSION

We learned to plan our work, use various sources of information, select the necessary materials, argue our opinions, make decisions, create a “final product” - a material carrier of project activity, present what we have created in front of an audience, evaluate ourselves and others.

So, having gained knowledge about the genres of the portrait, its types and features, I learned to give an emotional and personal assessment of the work, understand other people, convey their inner world and express my attitude towards the person depicted in the portrait, understand true beauty, which cannot always be quiet and calm, modest and collected, or bright and loud.

The goal of the work was to create a book introducing my work (Appendix 3). It has been achieved. I think that my classmates and peers will become interested in the fine arts.

The work materials can be used by teachers in fine arts lessons, MHC and in extracurricular activities.

BIBLIOGRAPHY

1. Basina N., Suslova O. With a brush and music in the palm. M.: Linka-Press, 1997

2. Beschastnov M.V. Black and white graphics. M.: Vlados, 2002

3. Bolshakov M.V. Decor and ornament in the book. M.: Book, 1990

4. Basin E. Ya.Towards the definition of the portrait genre //Soviet art history. - M., 1986.- IN.20.

5. Whipper B.R. The problem of similarity in a portrait // In the book. Collections of the Moscow Mercury on the history of literature and art. 1. M., 1917, p. 163-172; in the book Whipper B. R. Articles about art. M., 1970, p. 342-351.

6. Gabrichevsky A. G.Portrait as an image problem //Portrait art. - M., 1928.

7. Elshevskaya G.V. Illustration (collection of articles and publications). M.: Soviet artist, 1988

8. Konstantinova S.S. Fine art techniques. Rostov-on-Don: Phoenix, 2004

9. Leshchinsky A.A. Fundamentals of graphics: textbook. allowance. Grodno: GrSU, 2003

10. Melik-Pashaev A.A., Novlyanskaya Z.N. Steps to creativity. M.: Art at school, 1987

11. Mirimanov V.B. Small history of art. Primitive and traditional art. M.: Art, 1973

12.Poluyanov Yu.A. Imagination and ability. M., 1982

13. Favorsky V.A. Realism in children's drawings. In: The Art of Children. L., 1935

14. Favorsky V.A. About art, about books, about engravings. M., 1986

Annex 1

Dialogue with the artist.

Having become acquainted with the works of Volgograd artists, we went to their workshops to see how the masters of their craft work and ask questions that interested us.

Leontyev Maxim Olegovich: “ Hobby coincided with profession, profession within profession.”

- How old were you when you first picked up a brush?

Too early. Since childhood I have had a love for nature, I started drawing early to express the beauty of nature, from the age of 6 for sure, maybe earlier.

At first I was interested in decorative and applied arts. Over the last few years I have started working with pastels, I have been dreaming about this for a long time, my plans were far-reaching, but everything has its time. I became acquainted with this technique when I was studying at the Penza Art School. The most important thing about it is that it allows you to convey your state, attitude towards nature, towards various places. Even the reeds, it would seem that there is something beautiful about them, a swamp is associated with them, something uninteresting, I have works - snow and reeds - warm works...

- How long have you been involved in teaching?

You could say a long time ago.

Twice participated in exhibitions, received certificates and diplomas.

- Why do you continue to work in Volgograd?

I really like it here. A lot of beautiful places.

I give my students interesting tasks, I believe that if the tasks are boring, then learning is boring, so this is my main principle, if a student does nothing, then he is either not interested or does not understand, I try to delve into the very reason. I always help the guys achieve the final result, and this is important not only in work, but also in life. And I assign tasks whenever possible.

- Who did you dream of becoming as a child?

As a child, to be honest, I only wanted to become an artist, I didn’t even think about being a teacher, and many of my friends also didn’t think that I would be a teacher. A hobby coincided with a profession, a profession within a profession.

- What exactly do you like about your hobby profession?

Create beautiful things. So I made something and I think, did I really make this beauty, and then a moment of criticism appears and you think what could have been added or done differently.

- Do other work techniques appeal to you?

Another, yes, I would dream of doing forging, but there is no opportunity for this, but you can’t keep up with everything.

In order to teach children, you need to be able to do a lot yourself, not just to tell, but to show.

For the guys, my pastel works were a surprise.

- Which area of ​​activity do you pay more attention to: wood carving or drawing?

This is a difficult question, we are all alive and we live by interest. I work in arts and crafts, get bored, do bed work, here the result is immediately visible. One alternates with the other, the preference is the same.

Appendix 2

Makshantsev Boris Nikolaevich : « Work must be done, not loved. Love what you do and do what you love.”

- How old were you when you first picked up a brush?

I don’t even remember how old I was, early before school, maybe 2 years old, maybe 5 years old, I can’t say for sure.

- What technology do you use?

The reference book says graphic artist, and the graphic technique is very extensive, because watercolor still life is also a graphic technique.

- How long have you been involved in teaching?

Since school, many people redrew drawings in my drawing lessons, and then I helped many, I think that this is also work.

- What exactly do you like about your profession?

Being an artist is not a profession, something attracted me, I didn’t even think about it.

- What achievements do you have in your work?

If a work is included in an exhibition, then this is already an achievement. Also a large number of diplomas and certificates.

- Why do you continue to work in Volgograd?

The landscapes of Volgograd and the Volgograd region are attractive.

- How do you interest your students?

Children who have already been recognized as artists come here, and when they draw here, competition arises; others just like to draw.

- Does another working technique appeal to you?

Of course there is, wood carving.

-What did you dream of becoming as a child?

I didn’t particularly dream, I once wanted to become a pilot in the 3rd grade, and at 10 I decided to become an artist, it changed.

How many years have you been working e?

Appendix 3

Book "Portrait as a mirror of the soul"

Appendix 4

Portrait web diagram

Social portrait of our peer

This is exactly the type of behavior that modern teenagers are being driven to by their modern lifestyle. There is an erosion of life principles and guidelines. This depends on the following reasons:
- rapid change in life (lifestyle becomes obsolete);
- the life principles of elders become irrelevant;
- overload.
It seemed that the person had acquired more freedom, but did not know what to do with it, this freedom. What is the best way to live, what to strive for, how to manage your life correctly?
What are the values ​​of a modern teenager?
From the survey conducted to determine the values ​​in life of a modern teenager, a similar conclusion can be drawn.
Health values ​​are more relevant for modern teenagers. To maintain health in a modern lifestyle, you need to make more efforts. In the eyes of modern teenagers, family turns out to be less important than career and well-being. The spiritual group of values ​​for a significant part of modern teenagers is devalued.
Conclusion.
Thus, the modern teenager has different skills and a different attitude towards life. They know how to navigate information better than their parents and feel more free in the world. Yes, they still need to grow up to understand adult life. In any case, in ten years, our current next generation will begin to remake the world. What will it be like? Let's see.

TEST FOR STUDENTS “ALONE WITH YOURSELF”
Select one of the answers "yes", "sometimes", or "no" and mark it in brackets.
1. Do you think that you have mutual understanding with your parents?()
2. Do you have heart-to-heart conversations with your elders, do you consult on personal matters?()
3. Are you interested in your parents’ work?()
4. Do your parents know your friends?()
5. Do they happen at your home?()
6. Do you participate with your parents in household chores?()
7. Are you bored at home, do you prefer to spend your free time outside the home?()
8. Do you have common activities and hobbies with your elders?()
9. Do you participate in the preparation of family holidays?()
10. Do you prefer your parents to be with you during school holidays?()
11. Do you discuss the books you read with your parents?()
12. What about television programs, films?()
13. Do you go to theaters, museums, exhibitions and concerts together?()
14. Do you take part in walks and hiking trips together?()
15. Do you prefer to spend weekends with your parents?()
Key to the test
For each “yes” - 2 points, for each “sometimes” - 1 point, for “no” - 0.
Calculate the number of points scored - _____ points
More than 20 points- relations with parents can be considered prosperous.
From 10 to 20- the relationship is satisfactory.
Less than 10- Contacts with parents are very limited.

Project on :

"Portrait of one word"

Prepared : Mishina Anastasia, student of grade 6 “B” of the Verkhovka Secondary School No. 1.

Project Manager : Goncharova O.I. teacher of Russian language and literature.

Subject within which the project and related disciplines are being developed: Russian language, literature.

research

Project type:

group

interdisciplinary

long-term

Objective of the project: using dictionaries, popular science literature and other sources, collect a variety of information about the history, meaning, and use of the word FIREBIRD in the Russian language, folklore and literature.

Project objectives:

1) Analyze the basic definitions of the word firebird. explanatory dictionaries of the Russian language.

2) Study the use of the word firebird in Russian phraseological units, proverbs and sayings.

3) Analyze the word-formation nest with the original word firebird.

4) Consider the compatibility features of the word firebird.

5) Describe some features of the use of the word firebird in folklore and fiction.

Ethnographic page

In Russian folklore, most of the songs, fairy tales, legends, and riddles are about birds. Light images of celestial creatures often appear on dishes, spinning wheels, and embroidery. The silhouette of the folk costume is similar to a bird: wide sleeves-wings, a headdress-crest, breast and waist decorations-feathers. So the Firebird became the guardian of the world and the embodiment of dreams. The firebird personified fire, the sun, and creativity. This is evidenced by her plumage and the light that comes from her. Perhaps this is a poetic image of the dawn. The firebird is the wind, a cloud, lightning, plus heat in a peasant stove, a red rooster outside the outskirts. The firebird serves good. It emits an unusual, magical color that helps people in their earthly affairs. The light of divine radiance that surrounded the Firebird also fell on man, endowing him with what he wanted most in his heart: talents, skills, happiness.

Since ancient times, man, protecting himself from evil forces, covered his clothes and home with images - amulets. For the Slavic peoples, the firebird was not only a symbol of fire, but also a symbol of happiness and good luck. A fairy tale always opens up the widest scope for reflection and comparison. The results of a survey among students showed that for modern people the image of fire has become secondary, not so significant, the meaning of divinity and amulet is disappearing

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Lexicographic page.

FIREBIRD-s, and. In Russian fairy tales: a bird of extraordinary beauty with brightly glowing feathers. Find (get) the feather of the firebird(translated: about happiness, luck).

(Explanatory dictionary of the Russian language by I. S. Ozhegov and N. Yu. Shvedova)

Firebird(Eastern Slav.) - a wonderful bird with sparkling feathers. Her plumage emits such light that one of her feathers can illuminate a room, “as if a great many candles were shining in that chamber.”

(Mythological Dictionary)

Firebird and. people's poet A bird whose feathers burn like heat (in Russian folk tales).

(New explanatory dictionary of the Russian language)

FIREBIRD, an image found in Slavic, mainly Russian, folk tales; her feathers glow in the dark, “like heat burning.” Obtaining iron is a wonderful task that the hero of a fairy tale must accomplish. For example, in “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf” it is told how three brothers, on behalf of their father, go for J.-p., which goes to the youngest (the text was first published in the 18th century). popular publication). The image of J.-p. used repeatedly in Russian. literature, painting, music (V. A. Zhukovsky, P. P. Ershov, I. Ya. Bilibin, S. F. Stravinsky, etc.).

From the collection: Afanasyev A.N., Russian folk tales, vol. 1, M., 1957, No. 168 - 70 (for the library of texts, see vol. 3, pp. 473-74).

Etymological page .

Firebird, undoubtedly, is the image of a mythological creature. Moreover, it takes its origins from North-Eastern Europe and the Urals. After all, it was in these areas that ethnographic materials (for example, images) were found. There is also an assumption that the fairy-tale character, birds with fiery feathers, has its direct prototype in the Phoenix bird, or simply, the peacock - such are the threads of connection with the east...

Phraseological page .

Firebird.

Feather, how the heat burns

In that clearing there is a mountain

All made of pure silver;

Right here before the lightning

They're arriving heat birds .

(Ershov. The Little Humpbacked Horse).

Firebird - a fabulous bird from the Slavic epic, the embodiment of the radiant God of the sun and at the same time the angry God of the thunderstorm.

In the popular imagination, the Firebird is inextricably linked with the heavenly fire-flame, and its radiance is as blinding to the eyes as the sun or lightning. Fairy-tale good fellows go after the Firebird, and great happiness comes to those who master at least one of its feathers.

Art history page.

The Firebird is a fairy-tale bird. The Firebird is depicted in paintings, took part in fairy tales, and musical works were even written about the Firebird.

I. Stravinsky - ballet Firebird.

(P. P. Ershov “The Tale of the Little Humpbacked Horse”)

(V. A. Zhukovsky Fairy tale “Ivan Tsarevich and the Gray Wolf”)

Sources:

Internet resources

lexicographic dictionary (P.N. Denisov) phraseological dictionary (S.V. Maksimov)

etymological dictionary (O.N. Trubachev)

Conclusion:

The fate of the word FIREBIRD in modern Russian reflects the symbol of the Orthodox faith. Many children see the firebird only in pictures and in fairy tales.

Fine arts, grades 1-4

Brief summary of the project

Mona Lisa, Leonardo da Vinci (1503)

Our project is about portraiture in fine art. A portrait is a type 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 purpose of presenting him to others, showing the character, inner world, and life values ​​of the person depicted.

This is one of the most common genres in painting. This genre of fine art is very personalized, which is why it is interesting to society in general and to individuals in particular. We are accustomed to photographs and their easy availability on the World Wide Web, but a true portrait is not only the result that we see on the canvas. This is a lot of labor-intensive work carried out by the artist and the model. This is an interpretation of a person, not accessible to everyone and exclusive, elitist, which is certainly attractive and valuable.

Many famous masters turned to portrait painting, including Botticelli, Raphael, Leonardo da Vinci. The greatest work of world art was Leonardo's famous masterpiece - the portrait "Mona Lisa" ("La Giaconda", 1503), in which many portrait painters of subsequent generations saw a role model.

Questions guiding the project

Fundamental Question

What role does fine art play in a person’s life?

Problematic issues

What is unique about portraiture?

What idea does the portrait convey?

What is the historical significance of portraiture in fine art?

Study questions

What is meant by the term "portrait"?

Who became the founder of portraiture?

What are the main features of a portrait?

What are the genres of portraiture?

In which countries did the first portraits appear?

Name the famous portrait painters of the Renaissance?

Project plan

Project business card

Teacher publication