Research project on the topic of portrait. Fine art project on the theme "living portrait"

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

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 as 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 McNeill 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 at 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 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 he sympathetically followed 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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The structure of the pedagogical project scenario:
Author of the project: Tatyana Vladimirovna Kipko, teacher of art disciplines .

Place of work:

Project location: GOU SPO Yamalo-Nenets Autonomous Okrug "Yamal Multidisciplinary College"

Project theme: "Portraits of our time"

Subject area: Art history, easel painting

Project type: group, creative, informational, practice-oriented

Dominant methods in the project: research, creative.

Project participants: art history teacher, easel painting teacher, students 15-17 years old, Yamal portrait artists, parents.

Implementation deadlines: The project is short-term - three weeks.

Preliminary work: conversations with students about types and genres of art; studying art history according to the work program of the third generation academic discipline based on the Federal State Educational Standard, starting from the first year of study at the art faculty; viewing illustrations, postcards; watching video films about Western European art and domestic art; visiting virtual exhibition halls of the museum with paintings by artists; acquaintance with the work of leading artists of Yamal in the exhibition halls of the Art Center and the Museum and Exhibition Complex named after. Shemanovsky" in Salekhard; sequential implementation of program tasks of the academic discipline “painting” and the academic discipline “drawing” during the first, second, third and fourth semester.

Form of collective activity: joint-individual.

Resources:

Temporaryse: To implement the project, 6 lecture hours on art history are required (6 hours per week), 24 hours to complete a “study of the sitter’s head in a complex turn” (12 hours per week)
Informational: the project is aimed at collecting information about a specific object, familiarizing project participants with this information, analyzing it and summarizing facts intended for a wide audience. To implement the project, teachers prepared messages, reports, and multimedia interactive presentations.
Intellectual (expert): The preparation and implementation of the project is monitored by college methodologists.
Human (personnel): art history teacher, easel painting teacher; two Yamal portrait painters.
Organizational (“administrative” resource): the implementation of the project must be agreed upon with the pedagogical council of the department of artistic disciplines, with the head of the department of painting; the project plan must be included in the approximate working curriculum of the discipline “history of art” and in the approximate working curriculum of the discipline “painting”, in the specialty of secondary vocational education 071001 “Painting (by type)”
Logistical, financial: an art history classroom equipped with video and multimedia equipment, an art workshop equipped with professional easels.

The implementation of the discipline program requires the presence of a “Painting” classroom.

Equipment for the classroom (art workshop): seats, easels according to the number of students; teacher's workplace; staging tables; a set of educational visual aids; blackboard; demonstration stands.
Technical training aids: computer with licensed software; TV and DVD, video and DVD movies; music center, projector.

The target audience: 20 second-year students of secondary vocational education, art specialty and their parents. Estimated number of participants: 44 people

Student activity product: a sketch of the head of a sitter (one of the parents of each student) in a complex rotation made on canvas with oil paint and a demonstration of student paintings at the exhibition “Portraits of Our Time”

The relevance of research.

Harmony in nature evokes positive emotions in a person. Experiencing spiritual pleasure, we are filled with energy, giving us the strength to carry out our plans.

Painting is an image passed through the prism of the artist’s soul and captured on canvas. Pictures can inspire, calm and delight.

Painting teaches you to look and see

Art awakens emotional and creative beginnings in students of secondary vocational education. Through painting, students learn to understand the harmony of nature. Studying painting forms children's values. Allows you to learn to understand what is shown in the picture and for what purpose. Express your own opinion. Ability to analyze a work of fine art.

A unique genre of painting—portrait—helps you learn to treat yourself and those around you with respect, appreciate life, and feel the importance of your existence.

In fine art, a portrait is an independent genre, the purpose of which is to display the visual characteristics of the model. “The portrait depicts the external appearance (and through it the inner world) of a specific, real person who existed in the past or exists in the present.” A portrait is a repetition in plastic forms, lines and colors of a living face, and at the same time its ideological and artistic interpretation.

Photographers also have their own means, but they “record” rather than “create”.

Painting reveals to a child the beauty of the world around him and introduces him to the moral and aesthetic ideals of society.

The perception of art is an intense work of feeling and thought, a special intellectual and emotional work of the soul.

Today, people are becoming more and more impatient with each other. Tension is growing in society, which is rapidly moving us toward mass conflicts. The third world war is creeping up unnoticed. Since students daily observe the behavior of people in society, they often meet ill-wishers along the way. From all the media, the fragile psyche of a child is bombarded with information about mass riots and murders in different countries, about terrorist attacks aimed at exterminating humanity. I believe there is an urgent need to draw the attention of adolescents to the value of every human life. The younger generation should be introduced and introduced to the beauty of a lyrical portrait of a person. This process is possible by familiarizing students with portrait painting by artists of the Yamalo-Nenets Autonomous Okrug and with the work of artists who have gone down in the history of Russian art.

Physical health, excellent education and professional training are not enough for a person’s well-being. We also need spiritual and moral health.

In the life of a person and society, a significant danger is posed by the whole combination of factors - from geological to social.
The first group is geofactors. It includes the entire set of geological causes, starting with natural disasters and ending with a lack or excess of water, heat, and energy.
The second group is biofactors, starting with the lack of daily bread and ending with epidemics. The main groups of dangers hiding here: hunger, soil depletion, epidemics. Finally, the third group is sociofactors. These include: economic factors, starting with an unfair economy and mismanaged labor; wars, as a result of wars entire nations disappeared;
spiritual and moral factors, change or absence of spiritual and moral values.
And if we look at the lost civilizations, we will see that the reason for their extinction was spiritual and moral degradation. Spiritual death occurs only under certain social circumstances. Therefore, Ancient Rome perished, but Ancient China did not.
The combination of spiritual and moral factors is the cause of the absolute death of man and society: if a person or society is struck by a spiritual and moral crisis and cannot overcome it, then they die because they cannot reproduce themselves.

Spiritual death in a person and society is absolute in the event of their spiritual and moral degradation. At the same time, spiritual killing also triggers the mechanisms of physical destruction of man and humanity.

Therefore, for a prosperous life, a person and society need to take care not only of physical, economic, intellectual, social well-being, but also of spiritual and moral health.
Man and society must be tuned to their constant development.
Man and society must be purposefully formed both spiritually and morally.
And this presupposes appropriate spiritual and moral education. Therefore, it should be carried out as systematically and holistically as other types of education. In order for a person to work, he must be taught to work, given labor education. Human physical development is impossible without physical education, and artistic development without aesthetic education.
Thus, for the successful development of a person, his systematic spiritual and moral education is necessary and, therefore, an integral sphere of spiritual and moral education must be created in the Russian education system.

As a result of all the above arguments and facts, I consider it timely and relevant to work on a pedagogical project on the topic of: "Portraits of our time" combining educational, cognitive, and artistic and creative orientation. Through the interaction and integration of various areas of knowledge, a holistic vision of the problem is formed.

The readiness to feel the “kinship of human souls”, to express a reverent attitude towards the people of one’s country and the population of the planet - these are those deep moral and aesthetic feelings that need to be awakened in every student.

Object of study: the process of developing the artistic abilities of students at a secondary vocational educational institution through project activities.

Subject of study: development of artistic abilities of students of secondary vocational educational institutions through project activities.

Pedagogical goal: To form an artistic culture among students and develop artistic abilities, to introduce students to the culture of their region, to awaken in students their own creativity through the development of the artistic experience of artists, realizing search-creative, informational, practice-oriented project "Portraits of Our Time".

Tasks:

to form a moral and aesthetic attitude to the surrounding reality through the means of art;
to instill in students a sense of patriotism, love of the motherland and an understanding of the value of every human life;
introduce students to the work of portrait painters;
develop cognitive, communicative and creative skills of students in joint activities;
improve the creative skills of students through a display - an exhibition of products of student research and productive activity;
know methods of painting;
artistic and aesthetic properties of color, the basic principles of creating a color system.
As a result of mastering the project, the student must be able to depict objects of the objective world, space, the human figure, using the means of academic painting;
new forms of organizing the activities of students, teachers, interaction with

parents.

Research hypothesis: the process of developing moral and aesthetic feelings and artistic abilities of students will be effective if the participation of students, parents, teachers and Yamal portrait artists in the project “Portrait of Our Time” is considered as one of the most important conditions for interaction and cooperation. A project is a complex task, the solution of which is carried out taking into account the socio-cultural context of the problem under consideration and in which socio-cultural, psychological-pedagogical, technical-technological and organizational-managerial aspects interact and complement each other.

Expected Result and social effect: results-products, new, material objects that will appear during the implementation of the project: methodological development of lesson cards, creative interactive presentation of the artist I.N. Kramskoy, an exhibition of portraits of parents made by students for the exhibition “Portraits of Our Time”. Results-effects, social, cultural, psychological changes that will occur as a result of the implementation of the project “Portrait of Our Time” by all participants in the process. This project will contribute to the development of a caring attitude towards the people of their native land; the ability to work in a team, cognitive activity, will form in students the skills of productive and research activities, independence, and creativity. Results-products and results-effects must be measurable. A high degree of achievement of set goals and objectives corresponds to quantitative and qualitative assessment of results. A successfully implemented project guarantees good training for students of secondary vocational education in college. The degree of mastery of the project program includes the following levels: familiarization (recognition of previously studied objects and properties); reproductive (performing activities according to a model, instructions or under guidance) productive (planning and independent implementation of activities, solving problematic problems)

Prospects for further development of the project: It is possible to use the project in children's art schools; the project program can be used in additional vocational education (in advanced training and retraining programs) and professional course training for the unemployed population.

Didactic meaning of project activities: use of research methods (defining the problem, the research tasks arising from it, putting forward a hypothesis for their solution); analysis of the data obtained, discussion of research methods, design and exhibition of the final results (portraits), summing up, conclusions.

Project implementation principles:

pedagogical project - a developed system and structure of teacher actions for the implementation of a specific pedagogical task with clarification of the role and place of each action, the time of implementation of these actions, their participants and the conditions necessary for the effectiveness of the entire system of actions, in the conditions of available (attracted) resources.
obligation to complete all tasks within the time limits specified by the project program;
mutual assistance in work;
thoroughness and conscientiousness in performing work;
freedom in expressing thoughts and ideas.

Project Implementation Plan(preparation schedule, stages and timing of project implementation with planned activities, indicating those responsible for each activity).

Subject: "Russian art of the middle and second halfXIXcentury; Russian art of the last thirdXIXcentury»

The topic is designed for 4 hours.

Type of occupation: lecture.

Subject: « Objectives of portrait painting. Getting to know the work of Yamal portrait artists»

The topic is designed for 2 hours.

Type of occupation: lecture.

Responsible for the event: art history teacher

Subject: « Study of the sitter's head in a complex turn»

The topic is designed for 24 hours.

Type of occupation: drawing from life.

Responsible for the event: art teacher

Opening of the exhibition of student paintings “Portraits of Our Time”

Responsible for the event: art history teacher, painting teacher.
Abstracts of educational situations:

Annex 1. Technological lesson map; 1.1 Presentation for the lesson; 1.2 Presentation for the lesson

Appendix 2. Technological lesson map; 2.1 Presentation for the lesson

Appendix 3. Technological lesson map; 3.1 Presentation for the lesson

Distribution of activities of participants in the project “Portraits of Our Time”

Stages	Student activities	Activities of an art history teacher	Activities of a painting teacher	Activity parents	Venue and method
Identifying the problem	Getting used to situation. Realize and personally accept problem. Offer options solutions.	Formulates problem. Encourages students to make decisions Problems. Offers options solutions.			In the office under the guidance Art history teacher.
Project planning	Determine areas of activity to resolve the problem. Outline the stages of the project	Summarizes the discussion. Helps you plan activity, its final product.			In the office under the guidance of an art history teacher, at home with my parents.
Practical solution activities Problems	Find and organize information. They study nature (the faces of their parents) and perform head sketches on the topic: “Portraits of our time”	Organizes acquaintance of students with portrait painting of famous Russian artists of the 19th century; organizes acquaintance of students with the work of Yamal portrait artists	Organizes painting classes, supervises the execution of portraits of parents	They actively help their children paint a portrait. One of the parents poses for a portrait of their child at the exhibition "Portraits of Our Time"	During lessons - lectures in the art history classroom under the guidance of an art history teacher At practical classes in easel painting in the workshop management art teacher, together with parents.
Presentation of performance results Students Exhibition “Portraits of Our Time”	They draw up portraits of parents. They prepare to present the products of their activities and present them.	Helps in organizing the presentation of the project results on the topic: “Portraits of our time”	Organizes a presentation - an exhibition of student works on the topic: “Portraits of our time”	They support children and note the importance of solving this problem through the presentation of the products of their activities.	In the exhibition hall of the Yamal Multidisciplinary College under the guidance of Painting teacher.

Literature:

Andronikova M. About the art of portraiture. - 1975.
Andronikova M. Portrait. From cave paintings to sound films. - 1980.
Andronikova M. Portrait and portrait resemblance // Artist. - 1974. - No. 10.
Anikushin M. About portraiture // Artist. - 1973. - No. 3.
Basin E. Ya. Towards the definition of the portrait genre // Soviet art history. - M., 1986. - V. 20.
Vipper 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.
Gabrichevsky A. G. Portrait as a problem of image // Portrait art. - M., 1928.
Evreinov N. N. Original about portrait painters (On the problem of subjectivism in art) // Original about portrait painters/ Compiled, text preparation and commentary. T. S. Dzhurova, A. Yu. Zubkov and V. I. Maksimova. - M.: Coincidence, 2005. - 399 p. - ISBN 5-86402-146-6
Singer L.S. About the portrait. Problems of realism in the art of portraiture. - M., 1969.
Zinger L. S. Essays on the theory and history of portraiture.
Zinger L. S. The path to a type portrait // Artist. - 1980. - V. 9.
The Art of Portrait / Ed. A. G. Gabrichevsky. - M., 1928.
Kisunko V. Portrait - a plastic image of time // Artist. - 1977. - No. 2.
Chinese treatises on portraiture. - L., 1971.
A. Laktionov. Portrait technique http://artpage.ru/advice/tehnika_portreta.
Portrait problems. - M., 1974. - (Proceedings of the scientific conference, 1972).
Romanychev A. Possibilities of a portrait // Artist. - 1973. - V. 6.
Sidorov A. A. Portrait as a problem in the sociology of the arts (an experience in problematic analysis). - Art, 3. M., 1927, book. 2-3, p. 5-15.
Stasevich V. N. The art of portraiture. - M., 1972.
Tukhengold Y. A. “About the portrait”, 1912 // Apollo, 1912. No. 8, pp. 33-52; In the book. “Problems and characteristics”, Pg., 1915).
Fritsche V. Sociology of art, chapter “Portrait genre”. M.-L., 1926, p. 144-150

Links:

http://www.bibliotekar.ru/kKramskoy/
http://www.artvek.ru/kramskoy.html
http://www.artsait.ru/art/k/kramskoy/main.htm
http://www.kramskoy.info/content/view/401/26/

Municipal budgetary preschool educational institution "Kindergarten No. 95 "Ryabinushka",

general developmental type

Ulan - Ude

Teacher Chebotareva O.Yu.

Project on visual activities for children of senior preschool age on the topic: “Portrait of a man”

Relevance: " "Drawing a person" is a central theme in fine art. And this is understandable: man, his work, his activity transforming nature and the world, have always determined the social, socio-historical significance of works of fine art. It is no coincidence that In the very first drawings of children, man occupies a central place. Here is your beloved mother in a festive outfit, and grandfather, and sister, and dad, and favorite fairy-tale characters.

However, how As a rule, the depiction 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 of the image and significant artistic experience is required to depict it competently and expressively.

Problem: children often find it difficult to depict a person, so they try not to use this type of artistic creativity in independent activities. Based on this, it is necessary to teach children ways and techniques of depicting a person.

Goal: to teach children a variety of ways to depict a person. Tasks:

1. Introduce the types of portraits and their features.

2. Teach children to convey facial proportions, age-related changes, determine mood, help them master the means of conveying a person’s inner world, his character.

3. To consolidate children’s knowledge about portraiture, its features, and the fact that the artist conveys not only external resemblance, but also the inner world of a person, his character, mood.

4. Reinforce the concept of “self-portrait”, continue to learn how to draw a portrait, conveying facial features, hairstyle, using pencils, wax crayons, watercolor, gouache for drawing.

5. Cultivate a respectful attitude towards the older generation. Contribute to the creation of a favorable atmosphere in the family.

Expected result: children should learn to convey the characteristic features of the appearance of a particular person: eye color, hairstyle, color and details of clothing. They should depict a face showing the age-related changes of a person, draw a neck, shoulders and partially clothes.

Project participants: teacher, senior preschool children, parents.

Project duration: 2 -3 months.

Project implementation:

Week 1-2: introduction to painting, portrait drawing techniques, visual methods and techniques. First of all it is necessary to introduce children 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.

Portraits can then be selected that show the relationship between facial expressions, hand gestures, postures, 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 are based on three groups of questions.

Questions that encourage children to perceive holistically, revealing the meaningful 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 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 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. Comparing timesBased on the mood of the work, children pay 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.

The method of adequate emotions is aimed at causingth feelings, mood corresponding 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 the child’s inner world, expands his emotional experience, and teaches him to understand the aesthetic richness of life.

Methods and techniques: examining reproductions of paintings by artists of the portrait genre, highlighting the features of the image (style, poses, time intervals in creating the portrait, light, color), mixing paints to the desired shade, creating templates and stencils - heads, hairstyles (male and female); selection of various art materials.

Weeks 3–4: practical work on mastering the work with templates and stencils, backgrounds, and image tools.

Week 5 - 6 – drawing portraits of dad, grandfather, brothers (for Defenders of the Fatherland Day).

Week 7-8 – drawing portraits of mother, grandmother, sisters (for International Women’s Day).

Sample outline of a drawing lesson in the senior group

"Portrait of Mom."

Goal: To consolidate children’s knowledge about the portrait genre. To make children want to draw a portrait of their mother, to convey the features of her appearance in the drawing(eye color, hair color). 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: Examining different portraits, drawing portraits with a simple pencil.

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 with chalk on a blackboardoval and in the middle of his eyes. 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 mother wishes well, thenshe is friendly;

If Mom has long hair - long-haired;

If Mom has a round face - chubby;

If mom big eyes - big-eyed;

If mom has black eyebrows- black-browed;

Didactic game "Say kindly."

Mom - mommy, 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.

Working with parents: organizing consultations and practical classes to teach parents how to draw a portrait.

Week 8-9 – making frames for portraits, organizing an exhibition.

Result of the project: exhibition of children's works “Our loved ones, relatives, friends”

Bibliography

1. Ashikov V. Preschool education in the new century // Preschool education.- 2000. - No. 1. - P. 8-11.

2. Raising and teaching children of the sixth year of life. / Ed. Ushakova O.S., Paramonova L.A. - M.: Education, 2001.- 160 s.

3. Golovina T.N. Visual activities of auxiliary school students. M., "Pedagogy", 1994.

4. Goryaeva N.A. First steps in the world of art: From work experience: Book. For the teacher. - M.: Education, 1991.

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http://www.o-detstve.ru Presentation of the project “Portrait” Author: Khlebnikova Tatyana Fedorovna MADOU Child Development Center kindergarten No. 2 “Romashka” Dankov Project activity in an educational institution - 2014 http://www.o -detstve.ru Project product Project activity in an educational institution - 2014 http://www.o-detstve.ru “Studying yourself through a portrait” is determined by the choice of goal by the need to attract children’s attention to their inner world, perception and feeling of themselves, their “I” " in society; create optimal conditions for the development of creative, independent and joint activity of students through a variety of artistic activities. Project activity in an educational institution - 2014 http://www.o-detstve.ru For this, the following tasks were set: - to expand and deepen children’s knowledge about portraits, to introduce different types of portraits (picturesque, graphic, photographic portraits, etc. ); -introduce children to different techniques for making portraits; - teach children to consider and understand what the artist depicted; -enrich children’s sensory baggage; -stimulate cognitive independence and responsibility; -develop cognitive activity, creativity, imagination, thinking, fantasy, communication skills; - teach how to create compositions from ready-made items on a specific topic; - learn to convey your inner perception of yourself through images; - learn to work in pairs, negotiate with each other, find a common solution. - develop speech through a description of the created works. Project activity in an educational institution - 2014 http://www.o-detstve.ru Creation of a creative group: Fine Arts teacher, Musical director, Teacher of the group where the project is being carried out, Physical education teacher, Psychologist, Parents. Project activities in an educational institution - 2014 http://www.o-detstve.ru Drawing up a project implementation plan: Setting tasks for specialists and parents Proposals from specialists and parents for options for developing the topic through joint activities Project activities in an educational institution - 2014 Project implementation plan: http://www.o-detstve.ru Educational field Cognition Forms of work Fantasy portrait “Friend from another planet”, “We are all so different” (black, white, red). Communication Compiling creative stories on the topic “My beloved mother”, “My favorite Result of Knowledge about racial differences. The ability to create a fantasy image. Creative story teacher”, “Photo sketch”. Reading fiction Reading and discussion of folk tales (“Snow Maiden”, “Geese Swans”, etc.) Concepts of good and evil http://www.o-detstve.ru Type of activity Forms of work Result Artistic creativity Living portrait, living still life Descriptive story, calendars Artistic creativity Drawing on the themes “My favorite teacher”, “My beloved mother”, Modeling “My favorite animal”, “My beloved friend”, “I draw myself” Exhibition of portraits in Composition “Portrait of vegetables”, “ Carrot toy”, “Let’s bring vegetables to life”, “Delicious portraits” Exhibition of crafts, book “How vegetables hurried to kindergarten” Work with different techniques Project activity in an educational institution - 2014 http://www.o-detstve.ru Type of activity Forms work Result Physical education Riddles “Guess who I show with a movement”, game “Favorite movement of the hero” Plastic sketch Socialization “Psychological portrait” Album of drawings “Our group” Music “Musical portrait”, “Fairy-tale portraits in music” Ability to perceive a musical image Work with parents Conversation “What mother looked like as a little girl”, “Portrait from the family archive” Exhibition of works for parents Project activity in an educational institution - 2014 http://www.o-detstve.ru Productive stage “We are so different” Contents: 1. Org .moment. 2. Conversation about planet Earth. 3. Examination of albums, postcards, paintings with people of different races 4. Identifying characteristic features of people with different skin colors. 5. Independent drawing of children. 6. Summary. Composing the composition “We all live on Earth.” Materials: watercolor, sheets of paper, brushes, scissors, a jar of water, glue. Project activity in an educational institution - 2014 http://www.o-detstve.ru “Living Portrait” Contents: 1. Organizational moment. 2. Conversation about the portrait. 3. Showing the conversation “I will make a portrait.” 4. Individual work of children to draw up a portrait using their favorite objects and costumes. 5. Photographing and selection of the best portrait angles. 6. Homework – come up with a name for your portrait. Materials: items needed to make a portrait, various costumes. Project activity in an educational institution - 2014 http://www.o-detstve.ru “My favorite teacher” Contents: 1. Org. moment. 2. Conversation “Guess the genre of the picture.” 3. Individual activity of children to create a portrait using the bas-relief technique on cardboard. 4. Summing up. Compilation of the general exhibition “I am a man”. Materials: cardboard, colored plasticine. Project activity in an educational institution - 2014 http://www.o-detstve.ru “Portrait of vegetables” Contents. “Children make funny figures from vegetables, compose a fairy tale “How vegetables hurried to kindergarten.” Then they make frames from it and take photographs. Project activity in an educational institution - 2014 http://www.o-detstve.ru “Living still life” Contents: 1. Organizational moment. 2. Conversation about still life. 3. Showing the conversation “I will make a still life.” 4. Individual work of children to compose a still life from their favorite objects and draperies. 5. Photographing and selection of the best still life angles. 6. Homework: come up with a name for your still life. Materials: items needed to compose a still life, fabrics of various colors. Project activity in an educational institution - 2014 http://www.o-detstve.ru “I draw myself” Contents. Children receive their full-length outline on a two-length piece folded in half. Everyone works in pairs in turns, helping each other, first with a marker, then with paints. (I paint myself and my clothes) At the end, an exhibition of their own portraits is made for their parents. Materials. Wallpaper, markers, paints (gouache, watercolor), pastels, brushes Project activity in an educational institution - 2014 http://www.o-detstve.ru “Volume portrait” Contents: 1. Organizational moment. 2. Conversation about the portrait. 3. Showing the conversation “I will make a portrait.” 4. Individual work for children to create a portrait using pieces of white paper and PVA glue. 5. Photographing and selection of the best portrait angles. 6. Homework – come up with a name for your portrait. Materials: sheets of white coated cardboard or thick paper, PVA glue, gouache, brushes. Project activity in an educational institution - 2014 http://www.o-detstve.ru “Excursion to the artist’s workshop.” Objectives: to consolidate previously acquired skills and abilities, teach children new techniques (graphics on a mirror, and prints from glass), give them the opportunity to study the exhibition in the workshop themselves and tell others. Materials: Paintings of different genres and techniques, mirrors, frames, markers, paints, roller, sheets, sketchbook, brushes. Project activity in an educational institution - 2014 http://www.o-detstve.ru Results of implementation: Result - new knowledge, skills, abilities; the ability to work in a team, to subordinate one’s temperament and character to the interests of the common cause, the ability to resolve creative disputes, reach agreements, the ability to discuss the results of activities, evaluate the actions of everyone, enriching one’s sensory experience Product - exhibitions, album, book, crafts, drawings, sketches, stories . Project activity in an educational institution - 2014 http://www.o-detstve.ru Results of project activity along the lines of child development in the context of FGT Physical children have developed rational breathing skills, movement coordination, and developed the skill of meaningful motor skills Cognitive and speech pupils have acquired knowledge about various portraits and techniques for their execution; learned to compose creative stories using epithets, comparisons, metaphors in their speech Artistic and aesthetic learned to work in pairs, coordinating their actions with a friend, show initiative and independence in the process of choosing a topic, experiment with various materials, creating images Social-personal children have formed a stable interest in works art, to its various genres; curiosity, educational interest in the beauty of the surrounding world, creative abilities, manual skill have been formed Project activity in an educational institution - 2014 http://www.o-detstve.ru Thank you for your attention! Project activities in an educational institution - 2014

Galina Naumova
Creative art project for older preschoolers “Portrait of a Man”

Formulation of the problem:

Children often find it difficult to depict a person, so they try to avoid this image in independent creative activities. Based on this, it is necessary to teach children how to draw a person, showing a variety of ways to depict them.

Objective of the project:

Introduce the types of portraits and their features.

Convey facial proportions, age-related changes, determine mood. Help children master the means of conveying a person’s inner world, his character.

Tasks:

Children:

To consolidate children’s knowledge about portraiture, its features, that the artist in a portrait conveys not only external resemblance, but also the inner world of a person, his character, mood;

Reinforce the concept of “self-portrait”; continue to learn how to draw a portrait, conveying facial features, hairstyle, using gouache paints for drawing.

Parents:

Creating a favorable atmosphere in the family, nurturing a respectful attitude towards the older generation.

Expected result:

As a result of the project, children should learn to convey the characteristic features of the appearance of a particular person: eye color, hair, hairstyle, color and details of clothing. They should depict a face showing the age-related changes of a person, draw a neck, shoulders and partially clothes.

Project participants:

additional education teacher,

children of senior preschool age,

parents and other family members.

Project duration: 4 weeks.

Project implementation:

1. Tentatively – motivational: 1 Week

Children:

Target: Emotional mood, awakening interest in this type of activity, awareness of the purpose of the work.

Parents:

Target:

Help children observe age-related facial changes by looking at family albums with photographs of grandparents in youth, adulthood and old age.

Teacher:

Development of a model of interaction between all project participants and the content of everyone’s activities;

Development of schemes and manuals, determination of the expected result.

2. Operationally - active (technological): 2 weeks

With kids:

At the second stage, conversations are held with children on reproductions of paintings by artists on the topic of portrait, the concepts of single portrait and group portrait are reinforced. The concept is given: self-portrait, human age.

Game with children “Make a portrait”.

Classes with children on the image of a person’s face, including the transfer of age-related characteristics.

With parents:

Organization of consultations and practical classes to teach parents how to draw a portrait of a person.

Children, in collaboration with the teacher, choose the material for depicting the portrait (gouache, pastel, wax crayons) and the background color. They decide independently whose portrait they will depict (mothers or grandmothers).

At this stage, it is necessary to repeat the rules for working with paints and other artistic materials, special attention is paid to the organization of the workplace and work culture.

After this, the children begin to work independently. Those children who have coped with the work of depicting one portrait (for example, mothers) can begin depicting the second (grandmother).

3. Final: 1 Week.

At the final stage, the gift is prepared at the request of the children: making jewelry for mother (grandmother): beads, hats, earrings, etc., making a frame for the portrait.