Introduction

3 Pedagogical conditions and methodology for teaching compositional skills to primary school students in the process of creating compositions from testoplastics

Chapter 2

composite schoolboy testoplasty bas-relief

Introduction

Over time, the process of observation by a person of objects of fine art has become deeper and more reasonable, its scientific study in the field of pedagogy contributes to the emergence of a broader art history conceptual apparatus in art.

Pedagogy is a science that considers the special possibilities of the impact of nature on the feeling and behavior of a younger student. AT learning activities elementary school art teaches the student to peer into nature, to recreate its images. The teacher in the course of the lesson needs to help the student to see and understand the beauty, expressiveness of natural elements reflected in such a form of art as sculpture.

According to S. I. Ozhogov, the author of the scientific publication "Explanatory Dictionary named after S. I. Ozhogov". Sculpture is a type of fine art, the works of which have a three-dimensional form and are made of solid or plastic materials. The main genres of sculpture include: portrait, historical, everyday, symbolic and allegorical images, animalistic genre. The artistic and expressive means of sculpture are based on three-dimensional form, plastic modeling, silhouette development, texture, and in some cases also on color.[ dictionary named after S.I. Ozhogov].

During the training period, we had the opportunity to observe the creative work of elementary school students in teaching practice. On the basis of observations, we noticed that the formation of compositional skills in elementary school students at fine arts lessons in the course of creating a composition from testoplastics is not sufficiently disclosed in the curricula and guidelines for a public school.

In the course of the study, it is necessary to consider the problem of the formation of compositional skills in elementary school students in fine arts lessons, in particular, when mastering the techniques and methods of sculpting sculpture. Mastering the modeling technique by a schoolboy is impossible without studying the compositional foundations, conveying the shape, proportion and volume of the sculptural plot.

Meanwhile, the issues of theory and methodology of teaching fine arts, in particular the modeling lesson, related to the development of compositional skills in junior schoolchildren. Among sculptors and artists, V.S. Kuzin, Michelangelo Buanarroti, Alberto Giacometti, R.S. Nemov, Auguste Rodin, Policlet and Phidias and others.

The need for scientific consideration and practical implementation of the methodology for teaching elementary school students to create compositions from testoplasty in the creation lessons is due to a number of contradictions:

· between the understanding of the importance of teaching compositional skills in the process of creating sculptural compositions and the insufficient implementation of methods for teaching the form of fine art to sculpture in primary school;

· between the need of schoolchildren to create plot compositions from testoplastics using pictorial and sculptural materials, as well as insufficient knowledge of their figurative language;

· between modern requirements for the training of artists-teachers and the level of mastering the teacher with innovative pedagogical technologies.

The above contradictions determined the research problem: under what pedagogical conditions the creation of compositions from testoplasty will form the compositional skills of elementary school students.

The purpose of the study is to determine, on the basis of theoretical analysis and experimental research, effective ways, forms and methods for the formation of compositional skills in primary school students in the process of creating compositions from testoplastics.

The object of the study is the process of formation of compositional skills in elementary school students at the lessons of fine arts.

The subject of the study is the possibilities of sculptural compositions from testoplasty in the course of the formation of compositional skills in primary school students.

The hypothesis of the study is the assumption that the formation of compositional skills in primary school students in the process of creating compositions from testoplasty will be effective if:

· used non-standard sculptural techniques; sculptural and visual materials and technologies of work and modeling methods;

· the methodology of teaching elementary school students in fine arts lessons is aimed at developing compositional skills, figurative and spatial thinking, fine and sculptural skills;

· diagnostics has been developed that studies the formation of compositional skills in primary school students in the process of creating compositions from testoplastics.

In accordance with the purpose and subject of the study, based on the working hypothesis, we have identified the following research objectives.

Research objectives:

) to study the psychological, pedagogical, methodological, art history literature on the research topic;

2) to substantiate the choice of methodological techniques in the formation of compositional skills in primary school students in the process of creating compositions from testoplastics;

3) develop a system for diagnosing and the content of experimental work with primary school students;

) conduct an experiment with primary school students on the topic of research;

) to do creative work.

The research methods considered in the course of the study have psychological and pedagogical foundations, namely, theoretical: analysis of psychological, pedagogical, methodological and art works on the research problem, periodicals, pedagogical experience; in turn, empirical: conversation, survey; study of the products of artistic and creative activity of primary school students, the experience of organizing the pedagogical process for the formation of compositional skills in schoolchildren; pedagogical experiment.

The theoretical basis of the study was art studies aimed at describing the technology of "testoplasty" and sculptural techniques used in the composition of Galina Chayanova; methods that reveal the features of teaching compositional skills to primary school students in the process of creating compositions from testoplasty N. A. Kurochkina, G. V. Pantyukhina, N. B. Khalezova, E. V. Shorokhov; psychological and pedagogical research devoted to the description of the formation of compositional skills in primary school students T. S. Komarova, V. S. Kuzin, R. S. Nemov, N. N. Rostovtsev, L. M. Sokolnikova, E. V. Shorokhov, T. Ya. Shpikalova.

Primary schoolchildren aged 10-11 years of the MOU DOD Children's Music School No. 4 of Stavropol acted as the base of the study.

Theoretical and practical significance of the research

1.new ideas;

.new development methods;

.psychodiagnostics during the experiment

Chapter 1

1 Psychological and pedagogical foundations for the formation of compositional skills in elementary school students

In the education of Russia, a transition is being made from authoritarian to humane-personal pedagogy, an integral feature of which is the development of the student's creative potential. The effectiveness of the work of a modern school is determined by the extent to which the educational process in the lessons of fine arts ensures the formation of compositional skills in each student, aesthetic development creative personality and prepares it for cognitive and social-labor activities. The creative development and self-development of younger students is becoming one of the main strategies and principles of modern pedagogy.

Turning to the scientific and specialized literature in the course of the study, we noted different points of view of scientists and teachers Sh. A. Amonashvili, A. S. Vygotsky, V. A. Sukhomlinsky. In the "Primer" by Elkonin D. B., special problem situations are considered that allow schoolchildren to feel and realize the need for new knowledge to solve an educational and practical task in writing, reading and fine arts. ["Primer" Elkonin].

In the program of the artistic and aesthetic cycle, the authors of which are M.V. Golovanova, V.G. Goretsky and L.F. Klimanov introduced the section "Experience of creative activity and emotional-sensual attitude to reality of schoolchildren". However, the sections presented in the standard of primary education, in the programs and textbooks of M.V. Golovanova, V.G. Goretsky and L.F. Klimanova for elementary school does not aim at the formation of compositional skills in schoolchildren in the lessons of fine arts and the development of creative activity as a special element of the content of social experience.

Theoretical foundations for the formation of compositional skills in elementary school students are substantiated in the works of M. V. Alpatov, B. R. Vipper, N. A. Dmitrieva, B. R. Raushenbakh, N. N. Rostovtsev, V. S. Kuzin, T S. Komarova, E. V. Shorokhova, T. Ya. Shpikalova.

The construction of a work of art, due to its content and character, is called composition. Composition is understood dialectically as a process of construction based on compositional principles and means, as an object of perception from the point of view of the psychophysiological characteristics of perception, as well as as a result of the construction process and as a complete artistic whole.

Composition of a work of art according to V.A. Grigoryan has various aspects, due to which it should be considered: 1) as a thematic aspect, the development and embodiment of the ideological and artistic concept in the plot and in the artistic figurative solution (as a syntactic aspect); 2) as a system of relations of all elements of the form in which the idea materializes; 3) and the pragmatic aspect in terms of the impact of the artistic whole on a socially functioning person.

The creation of a work of art in any field of art is impossible without compositional construction without bringing to wholeness and harmony all its parts, all its components. Composition is the most important means of building the whole. By composition we understand the purposeful construction of the whole, where the arrangement and interconnection of parts are determined by the meaning, content, purpose and harmony of objects. Composition is also called a subject that teaches the laws of building a work of art. From an art history point of view, the word "composition" comes from the Latin "compositio", which means composition, composition, connection, comparison. All these meanings are present in a certain way in the modern understanding of composition and always mean a certain integrity, the presence of a complex structure containing contradictions, brought to harmonic unity, thanks to a system of connections between elements.

The composition provides a logical and beautiful arrangement of the parts that make up the whole, giving clarity and harmony to the form, making the content intelligible. The logic of construction, beauty and harmony in the ratio of parts of the plot are inherent, as already noted above, not only in human creations. We find signs of composition in natural forms, in the structure of plants, animal organisms and in the structure of the Universe. Therefore, the word "composition" in educational activities is equally applicable to the description of a flower, to the construction of a book or an image of an animal. According to the definition of N. A. Goncharova: "Composition is an exponent of the structural and harmonic integrity of objects of artistic form, objects and phenomena of the surrounding world and at the same time a means of organizing, building this integrity."

Composition is a way of organizing the "material" of art. In this case, the material means not only the physical mass - dough, clay, paints, but also the plot, idea, nature, everything that, being transformed by an act of creativity, creates piece of art in its final art form. The well-known Soviet scientist L. S. Vygotsky wrote that the material refers to everyday relationships, cases, life, characters. The arrangement of the events of the story, the way the poet introduces the reader to his plot, the composition of his works, is an extremely important task for verbal art. From the above quotation, it is clear how closely the composition and form of works of art are interconnected. If we consider the form as the final result of the creative process of processing and overcoming the material in which this material is located according to the laws of artistic construction, then the composition is just that way, that law of artistic construction, without which it is impossible to create a form and a finished work of art.

Without comprehending compositional construction as a means of organizing material, it is impossible to make a judgment about works of art and create them independently. The task of the compositional construction of a work is to distribute the material to the future plot, in such a way and in such a sequence, the interconnection of the parts of the work and all elements of the art form, in order to best reveal the meaning and purpose of the work and create an expressive and harmonious art form.

Harmonizing the form, the compositional structure thereby enriches the content and increases the value of the work as a whole. Composition is both a category of content that reveals the meaning, and a category of form that harmonizes the form. Thus, through the composition, an inseparable unity of content and form is realized. It should be noted, based on the sources named after E.A. Grigoryan, that the concept of "content" is always wider than the concept of a theme, plot, idea, and it includes the "overcome" material rethought in the process of creativity and the artistic value that the work acquires due to the development of the form. Form and content in a work are a dialectical unity.

The content materializes in the art form, as M. I. Kagan writes: "the content of a work is the meaning of its form, and that everything in a work of art is content." Form and content are organically merged in the final result, but exactly in a work of art. But by separating these concepts, opposing them to each other, we are able to isolate the formal features of the artistic form and identify the means by which the plot is built. The isolation of compositional means and their study is necessary for mastering the basics of composition. Our task in the course of the study is to look at the composition from the point of view of the formal structural organization of the material, to analyze the connections and relationships that arise between the elements of the form in the process of compositional construction. But first of all, in order to teach compositional fundamentals to elementary school students, it is necessary to determine what compositional construction is expressed in, what are its distinguishing features.

According to V. A. Slastenin, I. F. Isaev, A. M. Novikov, the contradictions that have developed in pedagogical theory and practice allow us to name the following criteria [V. A. Slastyonin, I. F. Isaev, A. I. Mishchenko and others. Pedagogy. Tutorial for students of pedagogical educational institutions. - M.: "School-Press", 1997. - 512 p.].

On the one hand, according to Slastenin V., Isaev I., in the interests of society and the individual and for the purpose of teaching effectiveness, it is necessary to form compositional skills in junior school age; on the other hand, A. M. Novikov believes that the problem of the formation of compositional skills in primary school students is not sufficiently represented in the psychological and pedagogical literature.

In the 21st century, significant work has been done in the educational process to strengthen the creative component in teaching in the content of primary education: the number of variable textbooks has increased, the subject of publishing art is equipped with an educational and methodological kit that contains tasks of a creative nature and problem situations.

The main contradiction lies in the fact that, on the one hand, the creative activity and compositional skills of elementary school students in the fine arts lesson need to be developed and formed, and on the other hand, a set of pedagogical conditions that contribute to the formation of such activity has been studied in pedagogical theory and practice. , in turn, is not enough.

The well-known Soviet teacher, Professor K. D. Trokhimenko, considers the fact that a student, when performing a composition, does everything from nature and does not dare to do anything on his own or by imagination, is a serious drawback. Such an approach, according to the scientist, hinders the successful formation of compositional skills and visual memory in elementary school students. Thus, the student gradually weaned from creative searches and took the path of least resistance. With this method, visual memory and creative imagination do not develop.

The fact that work on the composition should be filled with the creative attitude of the student is evidenced by the statements of teachers: I. F. Isaev, V. V. Kraevsky, A. I. Mishchenko, A. M. Novikov, N. N. Rostovtseva, V. A Slastyonin, E. V. Shorokhova.

In particular, N. P. Krymov said that the composition is the creative organization of the picture and in no case should it be confused with a simple placement, arrangement of figures and objects.

The study of life and observation are inextricably linked with artistic creativity. At one time, D. Diderot advised his students, who had been studying drawing and painting at the Louvre for two years, to leave this “mannership shop” and go “to the streets” to develop their powers of observation and form compositional skills. D. Diderot advised them to look for street incidents, to be observant in the streets, in gardens, markets, at home to develop spatial thinking and imagination.

P. A. Fedotov wrote that work in the studio takes only "a tenth share" of his work, and "my main work is on the streets and in other people's houses" [Pavlov G.N. "Remarkable canvases", 1986].

Considering the problems of artistic creativity, B. V. Ioganson notes: “Our observations take place continuously: in a carriage, on the street, during a friendly conversation - in a word, everywhere, anywhere, a realistic baggage of our memory is formed, so to speak, sometimes serving as a starting point and impulse to start creative work". The artist especially emphasized that sometimes life observations serve as a starting point and impulse for creating a creative work.

Sculptors - artists (E.D. Maltsev, N.F. Sanzharov) and teachers (I.F. Isaev, A.I. Mishchenko, V.A. Slastyonin), pointed out that often the inability to independently create a composition and even simply to come up with this or that plot is explained by the insufficiently developed observation of students. This also explains the imitation of other masters of painting, graphics, sculpture, especially in the work of young artists. The remarkable Soviet sculptor Academician M. G. Manizer also speaks about these statistical remarks: "at first, the plastic motives of students are often imitative - the reason for this is not yet sufficiently developed observational skills, the inability to see a new motive in the surrounding reality."

One of the most important indicators of the ability to visual activity is the ability to convey the similarity with the depicted object.

Even V. G. Belinsky wrote: “Only talent can faithfully write off from reality, and no matter how insignificant the reproduction in other respects, but the more it strikes with fidelity to nature, the more undoubted is the talent of its author. In painting and sculpture, by property and essence art, one ability, it’s true, to write from nature can serve as part of the signs of extraordinary talent.

One of the indicators of abilities for visual activity is the ability to see in objects and phenomena the main, most typical and characteristic, although hardly noticeable.

Sculptor artists call the ability to see the main thing in objects and phenomena "set eye", which enables the artist to select in reality the most important, bright, typical and characteristic. Attaching great importance in the "staging" of the eye of the artist - sculptor in his successful pictorial activity, many artists - teachers in their pedagogical work they begin by developing the ability of students to be observant, to notice everything and keep it firmly in memory.

The task of forming compositional skills in elementary school students is determined by the general requirements of the comprehensive development of the personality. The source of the formation of compositional skills of students is the activity carried out in the lesson of fine arts, and in extracurricular activities.

N.K. Krupskaya pointed out that the formation of skills and abilities takes place already in the play activity of a primary school student. At school, the process of forming students' skills acquires a purposeful and active character.

In grades 1-2, instilling diligence and interest in lessons in schoolchildren begins with the formation of compositional skills, with the habit of actively working throughout the lesson and at each lesson. Passion for work, interest, knowledge that the student receives from the lesson are necessary factors in the development of his general ability to work, the ability to learn to form compositional skills in the process of the fine arts lesson.

In the process of teaching visual arts to elementary school students, the teacher forms general ideas students about works of art. Thus, students master the ability to analyze pictures.

The theoretical foundations for teaching compositional skills to elementary school students are based on the traditions of realistic and abstract art, on their best examples of foreign and Russian schools. This contributes to the development of students' visual skills, visual abilities, artistic taste, aesthetic perception and creative personality.

Teaching fine arts activates the creative and cognitive activity of schoolchildren and has a positive impact on the formation of compositional skills and their aesthetic culture.

2 Creative approaches of sculptors and artists to creating compositions from testoplastics

Considering the problem of our study from a historical and art history point of view, sculpture, as a type of fine art, was formed in the 21st century under the influence of various styles of artists and sculptors and, in turn, has become an integral part of the interior and exterior design of modern buildings. According to V.I. Ermonskaya, sculpture is decorative and utilitarian in art.

The presence of artistic abilities favors the manifestation and development of such personality traits as efficiency and perseverance. No love for art without great, hard and persistent work can give a positive result in the development of artistic abilities. J. Chardin rightly said: "Talent does not ripen immediately."

Outstanding works of sculpture are distinguished by the integrity of the image, the subordination of all parts and details to the main thing in the composition. Moreover, integrity in sculptural works extends to the compositional structure of the work, revealing the content, the idea of ​​this work, in the creation of individual parts and sections.

An equally important indicator of the ability to create plot compositions is the vivid expression of emotions, feelings of the sculptor-artist, both in the process of direct depiction and in the work itself.

Among the famous artists - sculptors of Russia, working in the technique of dough plastics, one can name Galina Chayanova, Irina Khananova and the German artist Isolda Kiskat. who work in the educational field. Artists have their own circles on testoplasty and they have written many books on this type of fine art.

Galina Chayanova believes that the foundation for the formation of an artistic vision of the world is laid from early childhood. In the visual activity of elementary school students, creativity plays a huge role, first of all, it is connected with the development of their personality. Understanding this, teachers try to organize children's activities so that students see all the colors of life, its amazing manifestations, learn to love beauty, so that they discover a special vision of the world and want to express their feelings and thoughts in creativity. The feeling of beauty, the desire to create beauty is one of the complex psychological qualities of a person [Galina Chayanova, "Salt Dough"].

In the history of school pedagogy, the problem of creativity, in work with students, has always been one of the most urgent. At all times, creative personalities were needed, since it is they who determine the progress of mankind. The well-known expression SV. Mikhalkov "Everything starts from childhood", is applicable in this case, because the primary school age is sensitive, most favorable for the development of not only figurative thinking, but also imagination, memory, which forms the basis of creative activity.

The ability to aesthetically experience the observed objects and phenomena of the surrounding world creates the conditions for a more complete and deep knowledge of the depicted, and above all the elements of the aesthetic.

The emotional experience of the sculptor-artist when creating a composition from testoplastics is closely related to the expressiveness of the image. As a rule, the more fully and deeply the artist "felt" the depicted, the more expressively he depicts the content of the work. The expressiveness of the work implies, first of all, the transfer of feelings, the sculptor-artist, his attitude to reality. It is no coincidence that many sculptors have an interest in other types of art.

The remarkable sculptor and teacher M. G. Manizer wrote: "Does a plastic motif arise as a result of work creative imagination or it can be seen in reality, its expressiveness is the basis of success, its novelty arouses interest, attracts attention. The sluggishness of the motive leaves the viewer, at best, indifferent, the lack of novelty inspires boredom, a feeling of a stamp ... ".

The plastic motif contains only the foundations artistic image to be developed and refined. In portrait sculpture, these are, first of all, characteristic individual movements, understood not only as purely mechanical, external, but also as internal movements, reflecting the psychological state of the model. An observant artist catches this state in the turns of the figure, in the tilt of the head, in the gestures of the hands.

In the heroes of his works, N. N. Andreev always strives to convey the inner movement. He reveals in sculpture those moments of climax that allow one to imagine the previous action and a possible subsequent one.

A one-figure composition, as a rule, represents a figure in profile, since it contains the most complete information about the object. A two-figure composition, where the image of a single figure is doubled, allows you to express the state of direct dialogue between the characters and forms a complete picture. This type of composition is inextricably linked in the visual arts with the awareness of ideas about symmetry and asymmetry, single and multiple, integral and fragmentary.

Multi-figured compositions reflect the idea of ​​multiplicity, which is necessary for any storytelling, and make it possible to embody entire episodes from epic, mythology or real life in artistic form. Multi-figure compositions involve the depiction of many details, various attributes, landscape or interior elements, they are important as an attempt to correctly reproduce three-dimensional space.

The validity of the compositional law of vitality extends to sculpture. It is easier to convey movement through a group composition than through a single figure. In a one-figure composition, it is difficult to catch the internal movement, to convey movement in time, even in a dynamic pose. To clarify the analysis of the composition of O. F. Miron's "Disco Thrower", given by E. A. Kibrik: "Out of the mass of moments that make up the movement of a person throwing a disc, the sculptor chose a position in which, in addition to the maximum physical tension, one can clearly feel how Disco Thrower's previous body position, and the indispensable throw with which his tension should be discharged. If it were expressed a little less accurately, it would just be a twisted figure instead of a full-fledged disco thrower. "

Sculpture is one of the art forms. It includes images of people and animals in the form of statues, sculptural groups and reliefs.

Depending on the size of the volume, a large, small and medium scale sculpture is created, that is, a sculpture of large forms, small and easel. Large sculpture includes monumental works designed for mass perception; they promote social ideas and affirm positive images. These are monuments historical events and heroes. They contain an appeal addressed to the people. Monumental works are intended to decorate squares, parks, large public buildings. Sculpture of small form includes figurines made of stone, clay, dough, wood, bone, metal. Easel sculpture is performed on the machine and is intended for exhibition halls, museums. The content of easel sculpture is a portrait, small sculptural groups, as well as sculpture of the animalistic genre.

The main image in sculpture is a person, however, some artists, such as V. A. Vatagin, I. S. Efimov, devoted their art to depicting the animal world, considering it no less interesting and diverse.

The main visual means of sculpture are; form, volume, dynamics. To enhance the image, additional objects are used that reveal the depth of the plot of the composition.

The expressive means in sculpture include the image of the folds of clothing, with which the sculptor emphasizes the shape of the body of the depicted figure, giving the figure dynamics, making it swift or, conversely, calm.

Sculptures are made from different materials: stone, dough, wood, metal, glass, terracotta (baked clay). Sculpture made of hard material is called sculpting, soft sculpture is called sculpting.

In easel sculpture, the law of contrasts manifests itself, first of all, in the nature of the plastic interpretation of the main volumes, in the molding of the details subordinate to them. Since a round sculpture, as an independent work, is designed to be viewed from all sides, then in the course of the review it turns out to be in different light conditions and from each visual position it will look somewhat different. It is especially important for the sculptor to check the integrity of the round sculpture along the contours, along the silhouette in various positions, in relation to himself as to the viewer.

The expressiveness of the work of plastic art is given by contrasts. In easel sculpture, the main contrasts are chiaroscuro, which are able to reveal the form, unite the details.

Easel sculpture is not purely decorative, its composition is built in such a way that the main form in it is the main form that expresses the emotional state of the model. To do this, you need to know the spiritual world of the hero of the sculptural composition.

Visibility from all sides has a significant influence on the entire creative work of the artist - sculptor. Building the composition of the portrait, the sculptor, as it were, foresees the viewer's response to the expressiveness of the "large" form and the details consistent with it. Vivid examples of such an approach to solving the problems of a sculptural portrait, in our opinion, were "Portrait of F. M. Dostoevsky" by S. T. Konenkov (1933), "Portrait of A. N. Krylov" by V. I. Mukhina (1945).

When we look at the portraits created by S. T. Konenkov, one cannot fail to notice his desire for extraordinary penetration into the spiritual essence of a person - from this essence he goes to a spiritualized portrait composition. It is this rare type of composition that we see in the portrait of F.M. Dostoevsky, in which the sculptor found the embodiment of the image of a man burdened with mournful reflections. It seems that even his hands "think and suffer." And such a complex psychological state was revealed in the portrayed person with strict observance of the proportion of the human body, including the natural shape of the figure, head, face.

In this regard, the question involuntarily arises about the meaning of this word in portrait sculpture, about emphasizing far from ideal external data. This is a deliberate exaggeration of proportions. Let's say, a long-nosed one is made even longer, a wide face is even wider, and similar intentional "points" characteristic features. For all the controversy of the issue, there is no doubt that any deliberate distortion of any part inevitably leads to the distortion of other parts already contrary to the desire of the artist, that is, to caricaturing, in the end, the image as a whole, to the destruction of the truth of life.

In a one-figure composition, the artist always strives to convey the emotional state of a person. Legs, arms, back, all parts of the figure should enhance the overall sound of the piece.

The well-known Soviet sculptor N. V. Tomsky writes: “If a sculptor wants to create an image of a person who has gone into great and deep thoughts, he cannot allow any dispersion in the composition. The whole figure must be extremely collected, directing the feelings and thoughts of the viewer to the contemplation of the portrait - its most expressive part…"[……………]. In other words, the artist must strive to find the position of the figure that expresses the main idea of ​​the work with the greatest force.

Bright to that an example is the sculpture by O. Rodin "The Thinker" (1880). With what amazing penetration the talented master expressed in the whole figure, in every ligament, in every muscle, an unusually precisely found state of concentration of thought. He needed this to show how all the forces of the body, as if receding from the outer shell of the human body, concentrated in his brain, but the viewer with great power feels the invisible, passionate work that boils in the head of the "Thinker"[……………… ..].

As already noted, a multi-figure composition has more possibilities in conveying movement than a one-figure composition. Along with the depiction of figures in various rhythms, movements, in dynamics and statics, one can interpret the "group" movement through individual figures, showing the climax of each movement. In addition, there are more opportunities to achieve the impression of the vitality of the art form, since the participants in the group composition live in a monolithic unity, physical and spiritual.

The expressiveness of the work as a whole is facilitated by each figure included in the composition as necessary. component carrying a certain semantic load. Details also contribute to the creation of the unity of the sculptural group, to the transfer of the artist's intent.

The composition, revealing the deep embodiment of the ideological concept, the artist - sculptor is the composition "Stronger than death" by F. Theveisky (1957), shows a sense of camaraderie and solidarity that unites the heroes of this three-figure group, multiplies the strength of their resistance to death. "Leaning on each other, these three figures are arranged in such a way that they give the impression of unshakable stability. The purely frontal solution helped the sculptor create an unforgettable image, full of life, power and strength. The very composition of the group surprisingly clearly expresses the idea of ​​the work: one for all, all for one. All the figures are literally permeated with the feeling of the enormous, unshakable moral strength of this camaraderie. How much iron determination in the central figure, in her unusually stable posture, in the tense muscles of the left figure, in the position of her feet. These people will fight to the death."

An example of a two-figure sculpture, which shows active, dynamic movement, movement in space and time, is the composition of I. M. Chaikov "Football Players" (1928-1938). Each athlete conveys the feeling of what movement was before the decisive throw in the fight for possession of the ball, and one can easily guess what will follow next. The composition is based on the opposing movements of two football players. The figures are plastic, all forms and details are moderately generalized. Only that which characterizes professional movements and conveys the vitality of the situation is left in the composition.

Based on the opinion of the teacher Yermonskaya V.V., the decorative and artistic design of the interior and exterior remains not unimportant in the composition, in turn, the relief is a type of fine art and, in particular, sculpture, in which everything depicted is created with the help of volumes protruding above the background plane . The relief is made with the use of abbreviations in perspective, usually viewed from the front. Relief is thus the opposite of round sculpture. A figurative or ornamental image is made on a plane of dough, stone, clay, metal, wood using modeling, carving and chasing. Depending on the purpose, architectural reliefs on pediments, friezes and slabs differ.

In the architectonics of this type of fine art, there are types of relief that are painted during its creation, in which a convex image protrudes above the background plane, as a rule, by no more than half the volume.

High relief (fr. haut-relief - high relief) - has a convex image and protrudes above the background plane by more than half the volume. Some elements can be completely separated from the plane. The most famous example of high relief in antiquity is the Pergamon altar. High reliefs are often used to decorate architectural structures and decorative items. They allow you to display multi-figured scenes and landscapes,

The relief is built according to the same compositional laws as a round sculpture, it has its own distinctive features: firstly, the third dimension, the depth in the relief is always given in an abbreviated form; secondly, depending on the purpose, the relief is more or less flat - bas-relief or convex, high - high relief. The sculptural image, viewed from a great distance, is molded in high relief. A small relief is made in bas-relief.

As a rule, high relief is associated with architecture, and because of this, its size and composition are largely determined by the nature of the architecture, the purpose of the building, height, and the possibility of viewing at a distance. The relief is available in everyday and historical genres, partly landscape in the form of a background. As a historical composition, one can cite the high relief of F. Rude "La Marseillaise" (1833-1836) or "The Song of the Departure for the Campaign" (1852) for the Victory Arch in the Place des Stars in Paris. In addition to many other compositional and plastic advantages, in the high relief of F. Ryud, the measure of separation of protruding volumes from the plane is precisely found and their unity with the background, with a dynamic composition, is preserved.

A special kind of relief is medal art. In the flat relief of a medal, the reduction in volume is often done not according to the laws of perspective, but according to the laws of chiaroscuro, with well-defined outlines of the object and its place in the composition.

Noting the patterns of our vision and the features of the construction of the relief, M. G. Manizer wrote: “Look at a not very distant object, first with one eye, and then with two, and you will see how much the second stereoscopic view provides more for understanding the spatial construction of the form than the first ... How it is easy to see that in order to view an object near, we have to reduce the visual axes to a greater extent than when considering it far away.In the first case, that is, in modeling a small flat relief, the convergence and separation of the axes to determine the depth measure are more noticeable than in the second case - sculpting a relief that is convex and viewed from afar. Hence the need to make medals flatter than the same composition in a large size. The latter must be made much larger in terms of its depth measure ".

It is known that a person occupies a leading position in plastic art, and this obliges the sculptor to pay maximum attention to the selection and study of nature, to the means of materializing its "human" content in a sculptural composition - whether it will be purely modern, mythological or allegorical. A classic example of the humanization of the images of Gods and heroes of ancient mythology is the frieze of the altar of Zeus in Pergamum "Gigantomachia" (II century BC). This grandiose high relief depicts the battle of the gods of Olympus with the giants who rebelled against them - the sons of the goddess of the earth Gaia.

We turned our attention to the creative approaches of artists working in folk crafts. Creative ideas, searches, technologies of artists' work with non-traditional sculptural materials were very important to us.

A.I. Denshin (1893-1948) was a discoverer, collector, organizer, promoter and artistic director of the Dymkovo craft. In the 20-30s of the XX century, he led the toy department of the Vyatka art and industrial workshops, taught at the art and industrial technical school, worked in the Vyatka branch of the Scientific and Experimental Toy Institute under the People's Commissariat for Education of the RSFSR, painted scenery for performances about Vyatka handicraftsmen, collected handicrafts . In 1945 A.I. Denshin wrote a generalizing work "Dymkovo Folk Clay Toy: Its History, Origin, Masters and Significance", which lists the history of development, materials: paints used by Dymkovo craftswomen at the beginning of the 20th century. Dymkovo figurines were divided into three sizes: 15-18 cm, 10-12 cm, 8-9 cm. Craftswomen most often worked in one favorite size.

Thanks to the works of A.I. Denshin, the end of the 1910s and 1920s were the heyday of A.A. Mezrina.

A resident of Sergiev Posad - Chirkov (name and patronymic unknown) was the first to engage in the so-called stucco toy. He saw how one of the monks of the Lavra was sculpting crosses from alabaster, and he decided to sculpt toys that buyers liked in the same way. Already in the middle of the 19th century, mastic handicrafts took pride of place in the handicraft production of Sergiev Posad. Chirkov and sculptors of later generations did without plaster molds for a long time. They covered a wooden model toy, called a blank, with paper, after it dried, they cut it lengthwise and got two equal parts of the workpiece. After that, the halves were glued, puttied, sanded, primed and painted.

The folk crafts that existed in the 20th century became, to some extent, a prerequisite for the creation of stucco, toys and compositional works in the testoplastic material.

The composition in easel sculpture is based on general compositional laws and at the same time has its own characteristics, such as a three-dimensional, three-dimensional image in real space, viewed from various points, in contrast to painting or graphics with their illusory transfer of volume on a two-dimensional plane.

The sculptural work, first of all, is designed for the perception of it by many people. This is usually due to the need of society for works of art. Therefore, the sculptor-artist seeks in his works to convey to the viewer his thoughts, ideas, views through the specific features of the formation of the composition, namely through visual images of objects and phenomena of reality.

Thus, the visual images of things, objects that the artist creates in sculpture, on canvas, are a kind of means of communication between the sculptor and society. As a result of this communication, people learn about events, phenomena, get acquainted with objects and things of art, with their features, which the artist embodies in his sculpture.

3 Pedagogical conditions and methodology for teaching compositional skills to elementary school students in the process of creating a composition from dough plastics

In elementary school, the development of sculpture, a type of artistic activity, introduces students to a variety of materials and techniques, creative tasks form the ability to independently choose the appropriate material and solve compositional problems.

Among the well-known sculptors working in the testoplasty technique are Galina Chayanova, Irina Khananova and the German artist Isolde Kiskat.

Modeling in the educational process is peculiar in that it can be used to convey the shape of an object in three dimensions. Therefore, all elementary school students love to sculpt animals, people, fruits, vegetables, toys and other objects around them. In addition, the created creations can be successfully used in their gaming activities.

Sculpture develops students comprehensively, not only aesthetically, but also morally. In the lesson, completing the modeling task, they get a lot of knowledge about subjects, which contributes to the development of memory, imagination, thinking, attention, perseverance and other useful and necessary qualities in life. This type of artistic activity helps to strengthen and develop the fingers of schoolchildren, and in the process of modeling, in comparison with other types of work, the maximum activity of both hands is achieved. Mastering the technique of testoplasty, the child improves special movements: directionality, smoothness, rhythm, which will be useful in further educational activities. Getting acquainted with reproducible objects, younger students learn to understand their beauty, they develop a sense of beauty, as well as a love for fine arts. At the lesson of fine arts, a primary school student develops organization, purposefulness, perseverance and self-discipline in the course of creating a plot composition.

Based on the art history point of view, modeling is the process of creating a sculptural work associated with working on soft plastic material, such as dough, wet clay, plasticine, wax. [ Dictionary "Art". Henri Matisse]. The main modeling tools for working with younger students are stacks of various configurations, well-polished and slightly curved sticks. Their ends can be pointed, rounded or notched. The stacks are made from hardwoods (beech, oak, hornbeam) and are boiled in drying oil before grinding. This technique is necessary so that they do not swell during operation and do not change their shape.

Using the testoplasty technique, primary school students make wall decorations, toys, souvenirs and surprises. Plasticine figures are short-lived and cannot be painted, unlike dough products. In turn, paying attention to the dough, we are surprised at its plasticity. In the process of a fine arts lesson on modeling from salt dough, it is enough to master simple techniques that are accessible even to younger students, which will be done by hand and decorate the home corner.

In the system of a fine arts lesson on decorative modeling in elementary school, it is imperative to conduct an introductory conversation at the orientation-motivational stage, to expand the horizons of schoolchildren, briefly telling and presenting, with the help of slides, the historical development of testoplasty techniques. Since ancient times, people have baked not only bread, but also decorative items from dough. In the Himalayas, wooden molds were found for making sacrificial cult figures from barley flour. These figures replaced people and animals at sacrifices. Since the 17th century, salt dough puppets have been made in China for puppet shows. In Germany and Scandinavia, it has long been customary to make Easter and Christmas souvenirs from salt dough. Various medallions, wreaths, rings and horseshoes were hung in the opening of windows or attached to doors. It was believed that these decorations bring good luck and prosperity to the owners of the house they decorate.

In the countries of Eastern Europe, in particular Poland, the Czech Republic, and Slovakia, large paintings from dough are popular. Among the Slavic peoples, such paintings were not painted and had the usual color for baking, which was considered especially attractive. In Greece and Spain, during celebrations in honor of the Mother of God, magnificent bread wreaths decorated with lush ornaments are placed on the altar. Even in distant Ecuador, craftsmen made handicrafts from brightly colored dough. Among the Indians, such figures from dough used to have a symbolic or mystical meaning. Now they are made for numerous tourists.

Although dough crafts are an ancient tradition, they still have a place in the modern world, because now all environmentally friendly handmade toys are valued. In turn, salt dough has become a very popular material for modeling in teaching elementary school students in fine arts. As a material, the dough is very elastic, it is easy to form, products made from it are quite durable, and working with salt dough is a pleasure and joy.

Dough is a surprisingly plastic material for modeling various figures and compositions [Khomenko V.A. "Salt dough. Step by step"]. With proper kneading, it does not crumble, does not crack, and remains for quite a long time. Although it should be noted that the dough, in turn, the material is quite fragile if not handled properly. When working with schoolchildren, it is necessary to consider in detail the technology for making a composition from testoplasty. The properties of salt dough have long been known. Our great-grandmothers sculpted figurines of various birds and animals from it, the so-called "larks", with which they met spring, bagels, gingerbread, which they presented to their friends and relatives on New Year's and Christmas, on their birthday as a sign of love and respect. Dough products were used as children's toys. But before turning into children's toys, dough figures had ritual significance. Ceremonies associated with grain and bread, traditional for the peoples of Russia, Ukraine, Belarus, Poland, Bulgaria, and the Czech Republic, have long been known. In Ukraine, such dough products were made not only for spring rituals, but also for winter holidays, as well as weddings. The figurines were given together with the wishes of health, prosperity, wealth and good luck. The art of making dough products is still relevant today, and handmade souvenirs are in great demand. This is a wonderful gift for any celebration and holiday.

Modeling is enjoyed by elementary school students. From salt dough, you can make simple figures such as leaves, mushrooms, apples, and quite complex compositions - trees, figures of animals and people, as well as various multifaceted plots. Distinctive feature when working with this material is that in the process of work no special tools and devices are required. It is best to sculpt with your hands or use primitive tools that are always at hand. It should be noted that products made from salt dough have some heaviness, which does not allow creating compositions of large sizes.

One of the effective means of forming compositional skills in schoolchildren in the lesson of fine arts is sculptural tasks on thematic composition. For successful educational process in educational institutions it is necessary to solve problems of an artistic and creative nature, one of which is the formation of skills, the development of abilities, figurative thinking and creative imagination in schoolchildren through the creation of an artistic or decorative image. In order for these tasks to be successfully solved in the lesson, it is necessary to form knowledge about the laws of composition in younger students, to develop artistic and creative abilities, in particular figurative thinking and creative imagination, visual memory, and emotional perception.

In the lower grades, the knowledge of skills and abilities from a preschool educational institution is consolidated and some complication of the previously acquired material, and in addition, new tasks are solved that are very important for further education. schooling. Unfortunately, primary school students are not always sufficiently prepared, and the teacher has to teach them what they should have learned in a preschool educational institution. The nature of teaching, the methods used must correspond to the development and interests of primary school students. In conversations with students, it should be explained why it is necessary to do the work in such a sequence, what skills and knowledge are important in mastering the material. Developing the interest of the student in the study of visual arts, the topic of the lesson, the educational and creative task, we determine the necessary pedagogical condition for the manifestation of artistic creativity.

Considering the complex of means of activating the teaching of primary school students, I. F. Isaev, V. A. Slastenin, E. N. Shiyanov believed that teaching methods are ways of joint activity of a teacher and students aimed at solving learning problems, specifically didactic problems. This definition of the method reflects some essential characteristics of learning. Encyclopedic dictionaries define "method" as "method", and the method is said to be a method. At the theoretical level, "method" as a scientific category loses its meaning if it is believed that any mode of action can be considered a method. If we want to include the concept of "teaching method" in the pedagogical theory of learning, didactics, we will have to accept the interpretation of the method as something related to the essence of learning, reflecting its direction, which is implemented in various forms of educational activity, but is not limited to them. In this case, the method can be attributed to the logical form of the norm and defined as "... designed for the purpose of implementation in specific forms academic work a model of a unified activity of teaching and learning, presented in a normative plan and aimed at transferring to students and mastering by them a certain part of the content of education "[Kraevsky V. V., Khutorskoy A. V. Fundamentals of education: Didactics and methodology. Textbook for students of higher educational institutions - M.: Publishing Center "Academy", 2007].

A common in pedagogical activity is the classification of teaching methods, according to the source of knowledge. Verbal, visual and practical.

Verbal methods occupy a leading place in the group of teaching methods. There were periods when they were almost the only way to transfer knowledge. Progressive teachers Ya.A. Comenius, K.D. Ushinsky opposed the absolutization of their meaning, proved the need to supplement them with visual and practical methods. Currently, modern teachers often call them outdated, "inactive". This group of methods must be approached objectively. Verbal methods make it possible to convey a large amount of information in the shortest possible time, put students in problem situations and indicate ways to solve them. With the help of the word, the teacher can bring into the minds of children vivid pictures of the past, present and future of mankind. The word activates the imagination, memory, feelings of students.

Under visual teaching methods is understood the assimilation of educational material, which is significantly dependent on the visual aids and technical means used in the learning process. Visual Methods are used in conjunction with verbal and practical teaching methods are intended for visual-sensory familiarization of schoolchildren with phenomena, processes, objects in their in kind or in a symbolic image using all kinds of drawings, reproductions, diagrams. AT modern school screens are widely used for this purpose. technical means.

Practical methods are based on the practical activities of students. These include exercises, laboratory and practical work of schoolchildren.

The development of elementary school students is characterized by the formation of more complex forms during the lesson, cognitive activity. In the process of creating a plot composition, students' perception proceeds purposefully, observation develops, subordinated to a specific task. With special guidance for the development of perception in primary school age, important sensory abilities can be formed, such as an accurate eye, a visual assessment of proportions. Based on this, it is possible to complicate the tasks of visual activity, in accordance with the state educational standard of the school. Therefore, the teacher needs to build work with students in such a way as to solve specific problems in visual activity and, at the same time, help prepare students for the next stage of education. It is necessary to enrich students with such knowledge, skills and abilities that will allow them to more widely and freely reflect the events and phenomena of life around them.

The objects that schoolchildren sculpt have a different shape, color, structure, and are differently located in space. Primary school students have already learned that objects are rectangular, round, oval and other geometric shapes, and if objects consist of several parts, then the shape of each part should be determined and conveyed, the whole should be reproduced in parts.

In elementary school, children should be led to the perception and reproduction of a complex, multi-part form as a whole. First of all, this applies to the creation of human and animal figures. Primary school students learn to sculpt the whole figure from one piece of dough, first outlining it general form and then details. When sculpting from a whole piece, it is also possible to separate excess dough, as well as add the missing one to one or another part of the figure. All the main work is done with the movements of the fingers, sometimes with the whole hand. In the work with students in the lesson, various sculptural techniques are considered. Rolling with the palms, which is used when sculpting individual parts of a simple shape, is used much less frequently. Students use a stack with which they cut, separate parts in a whole piece of salt dough. Schoolchildren are shown techniques for turning the molding on the board in order to view it from all sides. In some cases, younger students, when creating a bas-relief, are invited to carefully consider and circle the outline of the object with their finger, and then draw the outline of not each part separately, but the entire object in one line, without taking their hands off nature. This technique is used to make ceramic figurines of animals, simplified in form, and clay folk toys. In elementary school, students often sculpt, paint objects with geometric images and create decorative drawings based on the Dymkovo clay toy, decorative compositions on the themes "Boyars", "Deers".

When solving this problem, schoolchildren encounter difficulty in implementing compositional skills, visual control over continuous movement, its timely stop and change in the direction of movement, coordination of the visual and motor components of the figure. In the manufacture of objects of complex shape, it is of great importance to observe the correct proportions - the ratio of parts in size and location. If junior schoolchildren sculpt from memory, using the ideas they have created about the subject, then students need to be taught to peer into the subject more often and more, continuously refine their knowledge about it, compare objects with each other according to certain properties, accumulate more and more ideas. and knowledge about the similarity of entire groups of objects, their basic structure, form in a sculptural composition.

In the process of teaching testoplasty, the teacher points out to children the similarities and differences in objects at each stage of the lesson, through direct and indirect questions of a problem-logical nature.

When looking at photographs and paintings, Additional materials clarifying and reinforcing impressions. Younger schoolchildren, accustomed to observe, view objects in a different way, receiving as a result a lot of information and visual representations.

It is necessary to cultivate a deep interest in the environment, in animals, in younger students, giving them available information about the meaning of what they see. Pupils of this age are keenly interested in the events taking place in our country and abroad. They learn a lot in art classes and hear from adults, books and the media. For a child, "communication" with animals is much more important, because their levels of perception of the world are close, the behavior of both also bears similarities. In addition, the student vividly learns the world and even such simply arranged creatures as insects and other invertebrates are of interest to him. Students reflect these objects with pleasure in modeling, re-experiencing the depicted events. In the lesson, you need to include social topics, introducing children to various types of animals and the phenomena of our life.

Considering nature with children, the teacher talks about the greening of cities, about forest plantations in our country, about the importance of forests in people's lives and the need to treat them with care. The teacher explains what taiga, pine forest, oak forest, birch grove are. Be sure to show paintings by artists I. Grabar, I. Levitan, A. Rylov, I. Shishkin, K. Yuon. As well as animal artists, such as Vasily Alekseevich Vatagin. Among the characters of V. A. Vatagin are the most diverse representatives of the animal world - bears, elephants, wolves, lynxes, monkeys, birds, fish.

The teacher emphasizes the richness of the inhabitants of nature and the beauty of our Motherland. Enriched with knowledge about the Motherland, about its nature, about the life of people, younger students with great interest perform sculptural compositions on these topics. They bring up love for animals, for the Motherland, pride in its wealth and achievements. Therefore, it is necessary to plan all the work in such a way that the lessons in fine arts, performing modeling tasks, are based on the knowledge and compositional skills acquired by schoolchildren, only in this case a rich stock of ideas and knowledge about the objects of the surrounding reality is formed.

From the whole wealth of objects available in local history and art museums, as well as those reproduced in books and albums on folk art, it is necessary to choose material that is accessible for viewing with schoolchildren. Most carefully, you need to select samples for children's decorative work. Along with the albums, it is desirable for the teacher to have in elementary school the things themselves, decorated with patterns, the work of folk artists and gradually create an art fund, the use of which enriches the ideas of schoolchildren about artistic creativity.

In elementary school, students should be introduced to the works of sculpture. B. M. Teplov writes: "The perception of art is an active process, which includes both motor moments (rhythm), and emotional experience, and "mental action." This last is especially important at a younger age."

Most often, students are shown pictures only for the purpose of developing speech. However, at the same time, broader tasks of artistic education can also be solved. As studies by academic teachers show, elementary school students are interested in the artistic qualities of testoplasty and sculpture in general, if the teacher directs students' attention to ways of expressing the image of content by arranging objects and characters.

In the classroom, and sometimes in the foyer of the school, from time to time, exhibitions of children's works in the form of sculptural compositions molded using the testoplastic technique should be arranged. First, students view the exhibition in an organized manner under the guidance of a teacher, and then they have the opportunity to independently and consider the most liked works of their classmates. This technique helps the elementary school student to see the best work and possibly products with minor flaws.

Fine art modeling lessons teach younger students to organize their time, bring the task to the end and complete it as best as possible, observing the methods and techniques of modeling from salt dough.

In the lessons, in the process of creating a composition from testoplastics, elementary school students learn to prepare everything for work on their own and, at the end, carefully put everything back into place. The acquired skill will help the student in the future, it is very important that he himself be able to organize his work, prepare workplace without the help of a teacher.

An important point in the preparation of elementary school students is the evaluation of children's work at the end of the lesson. Analyzing their stucco work from salt dough, elementary school students learn to see together with the teacher what was successful and what was unsuccessful and what should be corrected in order to complete the sculptural composition in the testoplasty technique.

Great importance in correct staging teaching fine arts at school have a well-established record of knowledge and assessment of the skills achieved by students. Systematic accounting and assessment of knowledge increase discipline and academic performance, contribute to a serious attitude to drawing.

Daily current accounting gives the teacher the opportunity to timely identify weak, lagging behind students, study the reasons for their lagging behind and organize assistance to them.

As a rule, the lesson should begin with a review of the material covered, which is necessary for understanding the new task. The teacher makes a big methodological error if he himself reminds the class of the material studied each time. Before starting to explain new material, the teacher should put a series of questions related to what has been covered before the class, call two or three students for an answer, and thus, in the introductory part of the lesson, establish a logical connection between the previous lesson and the present, thus checking the knowledge of some students. All this will help students to correctly understand the new problem and successfully solve it.

The teacher usually conducts preliminary accounting when receiving a new class, when it is necessary to find out what the level of knowledge and skills, the degree of training in visual activity for each student is.

Modeling is an effective means of understanding the volumetric and spatial properties of reality in teaching fine arts to primary school students.

Being engaged in sculpture in the technique of testoplasty, elementary school students master full-fledged compositional skills, technical skills, train their hands and eyes, and broaden their horizons of knowledge about the properties of the material.

During methodical study sculptural techniques of composition from testoplasty, younger schoolchildren develop a figurative-plastic way of thinking, compositional skills in creating an artistic-plastic image and concepts of the relationship of shape, mass, proportions and facts. The perception of the three-dimensional form of objects of the surrounding reality in art is considered important in the development of compositional skills in elementary school students.

Chapter 2

1 Purpose, tasks and methods of the ascertaining stage of the experiment

In the experimental work, for the successful implementation of the goal and objectives of the final qualification work, research work was carried out with children aged 10-11 years in three stages:

ascertaining experiment;

formative experiment;

control experiment.

Throughout the experiment, various forms and methods of working with elementary school students were used in the fine arts lessons on creating a composition from testosterone:

1. verbal methods - conversations, demonstration and explanation, illustration;

Visual methods - reproductions, pedagogical drawing;

Practical methods - display of image methods, organized tasks with a subgroup of schoolchildren carried out in the form of exercises and didactic games;

Individual work with students;

Exhibition of children's works.

The experimental work was carried out on the basis of the Children's and Children's Music School No. 4 in Stavropol with elementary school students aged 10-11 years.

The purpose of the ascertaining experiment: to diagnose the level of compositional skills of schoolchildren in the process of creating the image of a lion from testoplasty.

.To develop compositional skills, design abilities, spatial thinking, imagination, fantasy in elementary school students.

.To reveal the level of formation of compositional skills in schoolchildren in the process of creating a composition from testoplasty.

In the first lesson, after the motivational stage, we subsequently identified 6 people who were organized into two groups: control and experimental. In each of these groups there were schoolchildren with approximately the same level of development of fine and compositional skills, all students showed interest in creating compositions from testosterone, and were willingly involved in subsequent work.

All stages of the experiment were carried out in the form of circle work in the form of various classes with elementary school students: general group, subgroup in an individual form. The ascertaining experiment was carried out in the form of a general group lesson with children of both subgroups on the topic "Sculpting an animal from memory. Lion cub". The first lesson of the ascertaining experiment was carried out in order to diagnose the level of formation of compositional skills in schoolchildren aged 10-11 years in the process of creating a composition from testoplasty. Each student came up with a creative approach to the task. Schoolchildren during independent work it was necessary not only to mold a lion cub from salt dough, but to correctly compose it in a sheet format, correlate the sizes of individual forms of the image, the parts of which it consisted, and also display in color the habitat of this animal.

To identify the level of formation of compositional skills in elementary school students, we developed diagnostic criteria, according to which an analysis was made of the manifestation of their skills when creating compositions from testoplasty. All students joined in the work with interest, expressing their understanding of the compositional and color solutions in the composition of testoplastics. The results of this experiment are presented in the table (see table No. 1).

The presented criteria for diagnosing the formation of compositional skills in primary school students reveal the level of mastery of the technique of testoplasty in the course of creating compositions.

High level - is set when, in accordance with the proportions, they independently compose the objects of the thematic composition in the sheet format, correctly identify the main parts of the animal figure and have a good command of modeling methods; correctly find tonal and large color relationships when painting a product; confidently own test material, brush, apply strokes according to the shape of objects; include a background in the work, thereby creating space, depicting the corresponding nature.

Intermediate level - is set if students do not attach special significance compositional completeness of the work, performing it partially; they do not accurately find the proportional ratio of the parts of the animal figure, partially master the methods of modeling; correctly convey large color ratios when painting the product, however, it is not possible to work out the composition in more detail; the test, as a material, is not entirely confident; The background is partially completed.

Low level - is set if the compositional skills of primary school students are in the stage of formation and development; experience difficulties in constructing a sculptural image of an animal, namely, with a proportional ratio of the sizes of body parts. insecurely own artistic materials, such as dough, paints; background is missing.

The similarity of a molded animal on the sheet plane is best seen in the works of Lisa Vereshchagina and Yulia Yashina. They conveyed the planned composition, the volume of the lion figure and the correct color scheme.

Vitalik Glitches and Rita Dyanko have an average evaluation criterion. In the work of Dyanko Rita there is a resemblance to the image of a lion. It is displayed in the proportionality of the lion and the correct color scheme. And in the work of Sboev Vitalik, there is also no less resemblance to the image of a lion. The proportions and colors are right.

Students with a low level, namely Sonya Udovydchenko and Denis Rybalko, did not work confidently throughout the lesson. Rybalko Denis at the same time did not decorate either the background or show the horizon line.

Therefore, we decided to continue the research work, and with the help of the developed criteria, in our opinion, it will be possible to form the necessary compositional skills in primary school students to create compositions from testoplastics.

Then we identified the control and experimental groups of schoolchildren, each of which had 3 people. Both groups included schoolchildren with approximately the same level of skills. With schoolchildren of the lower grades of the control group, work was continued on the program of the Children's Art School in Stavropol, and with the experimental group of schoolchildren of the lower grades - in-depth assimilation of skills, knowledge and skills under the guidance of a teacher-researcher.

In the course of the lesson it was planned: to acquaint schoolchildren in depth with an interesting and unusual sculptural material dough, and to acquaint students with the basic laws of composition; to educate creative activity and independence, to teach them to master the basic methods of modeling and brushing, applying strokes to dried dough, thereby enhancing expressiveness in their works.

During the lesson, we used methods and techniques, such as verbal: introductory, current and final conversation about the material and technique, composition, and its laws. Visual methods: demonstration tables with step-by-step modeling of an animal accompanied by an artistic word, independent work, individual work with schoolchildren, as a leading method in the classes of children's art schools.

During the ascertaining experiment, the interest of schoolchildren was noted, the desire to work more with salt dough, the ability of students to master compositional skills in the process of creating an animal composition from dough plastics.

Guided by the results of diagnosing the level of formation of compositional skills in elementary school students, when creating a plot composition of animals using the technique of testoplasty, we determined the goal and objectives research work with the children of the experimental group in the formative stage of the experiment.

Purpose: to form the skills of primary school students to carefully and independently analyze plot compositions using the technique of testoplasty, conveying their characteristic features.

1.To teach students to know the beauty of nature and its inhabitants.

2.Develop visual and spatial thinking in students.

.To develop compositional skills in schoolchildren when creating a characteristic shape, proportions of each part of an object; the ability to determine the geometric shape into which the entire image of the animal, its main parts, fits.

.Encourage students to peer into their own work, teach consistent analysis: start creating with basic geometric shapes.

.To form an interest in modeling among schoolchildren, to arouse a desire to learn as much as possible about the originality of testoplasty.

6.To improve the skill of manual labor in schoolchildren by modeling methods.

.To teach schoolchildren to analyze the depicted animal, while paying attention to proportionality and composition.

.Develop fine motor skills of hands in the process of mastering various technological methods.

9.To develop in schoolchildren design skills and abilities, spatial thinking, imagination, fantasy.

10.To form the moral, aesthetic qualities of the individual.

11. To form generalized knowledge and skills in the formation of a composition from testoplasty.

According to these tasks, a lesson plan was developed for the formative stage of the experiment with schoolchildren, including tasks

different nature:

1.Sculpting an animal from memory "Elephant". Testoplasty

2.Subject composition "Mouse on cheese". Testoplasty

.Subject composition "Wild cat". Testoplasty

.Subject composition "Sheep in the meadow". Testoplasty

The tasks of teaching composition include sculpting individual objects: flowers, grass, trees. Getting acquainted with the test, students master the basic modeling techniques: rolling, rolling, flattening, pressing, pinching, pulling.

Taking into account that the analysis of children's work is an integral part of the lesson, a logical continuation and completion of the whole lesson, it was given a lot of attention. From the figures of animals molded by children, a small exposition-view was created so that everyone could see their work from the outside and independently evaluate it, seeing its advantages or disadvantages.

During the analysis of children's work, not only the positive aspects of the work were noted, but also those aspects in which something did not work out. Explanations were illustrated on the board or with the help of visual aids (tables, illustrations and reproductions).

In the first two lessons, more leading questions had to be asked, directing the children's attention to the ratio of proportions to the album sheet, on which the children sculpted animals from dough, to compositional expressiveness.

The first lesson of the formative experiment was on the topic: "Modeling an animal from memory, Elephant".

The students tried to convey more natural form baby elephant, with a certain personality. The students were told the shape of the structure of an elephant calf, which includes several geometric bodies of which it consisted. When showing the method of modeling a baby elephant at the blackboard, the children tried to carefully consider the construction and did not copy it in the process of independent work.

In the process of independent work, the concept of "sequence" was reminded, attention was paid to where to start sculpting a baby elephant, which forms are larger and which are smaller. At the beginning of the lesson, the instructions related to the content of the work, recalling those from previous works that could be included in the content of this work. Sometimes Udovydchenko Sonya and Sboev Vitalik helped, recalling the basic modeling techniques and their sequence.

By examining and studying the baby elephant, children begin to understand the construction, the combination of various geometric shapes that make it up. The students were amazed how simple tricks sculpting can achieve extraordinary expressiveness. In the plot composition "Sheep in the Meadow", students begin to have creative ideas, according to environment around the figure of an animal, they tried to create a beautiful image of the composition to try their hand, using simple forms to create grass and flowers.

They made sure that all children first positioned the animal correctly in composition, indicated the location of the parts of the object. Then, on the remaining space on the sheet, it was already possible to create secondary objects by creating them from dough, or by drawing with paints.

All classes of the formative experiment were carried out using basic modeling techniques. The perseverance of students, self-confidence, the development of voluntary attention, concentration when modeling animals, perseverance in achieving the goal - these valuable qualities are largely developed thanks to the classes.

In the course of our classes, we gradually led schoolchildren from little to deeper knowledge, developed their skills and abilities from simple modeling techniques to more complex and detailed work.

By following the practical content of the classes that we selected, we could achieve some success, but it seemed necessary to us to consolidate the acquired skills by practicing outside of classes. We decided to go two ways. The first is the method of individual tasks with lagging students. Such was Sonya Udovydchenko, with a low level of development, not immediately grasping instructions, with difficulty capturing features when showing an expressive composition, the accuracy of sculpting an animal, and with unstable attention. In the classroom, they sat her closer to themselves and more than others, paid attention during the session, additionally showing techniques. The second is the way of using homework. Arranged with parents to provide students with materials to complete assignments at home. schoolchildren brought works, we examined them together, encouraged them, pointed out mistakes. Vitalik often made mistakes when sculpting an animal Failures, which, after our remark, were no longer encountered.

In subsequent classes, Vitalik Failures, Yulia Yashina and Sonya Udovydchenko began to turn to our help less often, independence in the technique of mastering the material as a whole increased, and interest in work increased. Most often, Sonya Udovydchenko and Vitalik Sboev asked for help. Sonya Udovydchenko was in a hurry, not keeping in time, naturally because of this, errors arose that frankly spoiled the work and put it on a level below the rest.

We selected topics in such a way that all students could cope with the work in one lesson.

When selecting the practical content, we tried to comply with all the conditions: the gradual knowledge of technical difficulties, the requirement for subtlety and clarity in work, took into account the need to connect modeling classes with each other, including repeated exercises in them. The most pronounced, as expected, were the works of Yulia Yashina, who did not hesitate to correctly and actively use modeling techniques in creating a composition from testoplastics.

As a result of these classes, students learned to work more independently, striving to acquire more knowledge, skills and abilities in the work of modeling animals. Such classes, despite their small share in the overall work of modeling, had a great educational value. Perseverance, growth of self-confidence, development of voluntary attention, perseverance in achieving the goal - these valuable qualities were largely developed in the testoplasty classes.

The work carried out showed that the testoplasty classes allow students to more clearly study the shape, structure, proportions, while it is important to involve them in the creative process. Systematic training in testoplasty develops the capabilities of students, influences the expansion of their horizons about stucco materials and techniques.

The appendix contains summaries of all classes of the formative experiment, which reveal the formation of compositional skills in elementary school students in the process of creating a composition from testoplasty.

3 Results of the control stage of the experiment

Upon completion of the planned work plan of the formative experiment, we conducted a control experiment. It was carried out according to the same criteria as the stating experiment, with children from both groups. The control experiment was conducted in the form of a general group lesson on the topic "Family of cats".

The purpose of the lesson: to reveal the correct understanding by primary school students of the originality of the chosen composition; consolidate previously acquired compositional skills in the lesson, independently analyze and create a composition from testoplasty, conveying its characteristic features.

.To develop compositional skills by acquiring theoretical and practical knowledge and skills from elementary school students.

.To teach the correct application of knowledge of techniques, rules, and means of composition in their work.

.To improve the skill of manual labor in elementary school students in the ways and techniques of modeling.

.Develop fine motor skills of hands in the process of mastering various technological methods.

.To identify and compare the level of abilities of primary school students in the control and experimental groups.

In the water conversation of the lesson, verbal and visual teaching was used. The children were offered a phased examination of the composition. In the course of practical, independent work, children showed communication skills. The main teaching methods were conversation, encouragement of effort, reminder of the construction and methods of work.

Rybalko Denis, Dyanko Rita and Udovydchenko Sonya at the beginning found it difficult to create a compositional plan. The demonstration for these students was individual, methods and techniques of modeling from dough were shown. After the show, the students independently took up the creation of the plot composition "Family of Cats" using the testoplasty technique.

The students of the control group did not immediately decide where to start sculpting, some of this group did not understand the rules for arranging the composition. I had to put the students of the control and experimental groups in pairs, while once again paying attention to the phased completion of the task.

The students of the experimental group quickly decided where to start the task. They correctly positioned their cats, showed the layout in their works. Failures Vitalik and Yashina Yulya more than others showed small details on cats and supplemented the work with additional items. At the same time, students of the control group who were having difficulty nearby were helped, who had a positive attitude to this and were glad that their peers helped them.

The results of the control experiment are presented in the following table (see table No. 2).

All works were evaluated according to the following criteria:

low level - is set when the student does not convey the resemblance to the depicted animals at all; there is no expressiveness of the composition in the sheet; poor command of color;

medium level - is set when the student conveys some resemblance to the depicted animals; there is a partial expressiveness of the composition; with difficulty owns a brush; performs easy laying of color relationships;

high level - is set when the student conveys the resemblance to the depicted animals; clearly highlighting the compositional expressiveness on the sheet; shows creative initiative; easily and freely owns a brush; correctly conveys color relationships.

The students of the experimental group significantly improved the quality of the above skills. The students of this group were easier to navigate in the compositional solution, more confidently used modeling techniques. They easily answered questions about the composition, expanded their ideas about the methods and techniques of modeling from dough.

The skills and abilities of students in the control group remained virtually unchanged. Pupils experienced difficulties in choosing a composition from testoplasty, the works are not distinguished by expressiveness and literacy. Students poorly used modeling techniques in their work.

Such results indicate that the formation of compositional skills among students of this group was carried out without observing a certain system of teaching in the classroom. In the experimental group, higher results were noted: the students consciously chose a point of view, observed the proportional ratio of the molded animals on the format plane, competently used modeling techniques.

Consequently, the methodology we have chosen for conducting classes on the formation of compositional skills in primary school students in the process of creating a composition from testoplasty has brought positive results and can be used by us in further pedagogical practice.

Thus, the tasks set for the formation of compositional skills in schoolchildren aged 10 - 11 were implemented; the proposed assignments corresponded age characteristics students and fit the curriculum. The growth of students in creating a composition from testoplastics and transferring color solutions is noticeable. Further refinement of compositional skills, the transfer of color relationships, especially with children of medium and low levels, follow.

Chapter 3. Creative work on the topic: "Hunting"

1 Technology of work on a sculptural composition in the "bas-relief" technique

Issues devoted to both general issues of creativity and the search for the right compositional solution are quite acute in the visual arts. Let's start with the first, and specifically - with the choice of topic. It is clear that before all kinds of fine arts were valued. But since recently creative people, create what the buyer requires. And it is known that paintings painted with graphic materials or paints are now more valuable and profitable than sculptural works. Despite this, one should not forget the crafts, which are the oldest and most beautiful type of fine art.

The main idea of ​​the creative work was the implementation of a two-figure composition in the bas-relief technique, which, in our opinion, will fully reveal the compositional laws.

With the help of creative work, we once again showed the beauty of the animal world and the magnificence of the animals in it. Truthfully depicting nature is the ability to build objects constructively and perspectively, convey their proportions, volume, materiality, spatial arrangement, bring the composition to integrity and unity, identify the characteristic features of objects and objects, their aesthetic properties and beauty.

We have done one creative work. In our plot composition, we depicted animals in their respective habitat. In order to make the animal look alive and dynamic, they depicted their characteristic pose of a sitting jaguar on an acacia hunting a jerboa, which in turn carelessly nibbles on a branch of a camel thorn. We have chosen animals living in the same geographical latitude habitat, as both jerboas and jaguars are found in semi-deserts.

The size of our work is 70cm x 100cm. The name of the creative work is "Hunting". A.E. Bram gives a vivid description appearance animals that illustrate the following scientific descriptions.

Jerboas (lat. Dipodidae) - a family of mammals of the rodent order. It unites a group of rodents inhabiting the steppes, semi-deserts and deserts and adapted to the specific living conditions in these landscapes. Jerboas - rodents from very small to medium sizes: their body length is from 4 to 25 cm. The tail is longer than the body (7-30 cm), often with a flat black and white tassel at the end, which serves as a steering wheel when running, as well as a visual danger signal . The appearance of jerboas is very characteristic due to the short, curvy body and elongated, strong hind limbs, the length of which is sometimes 4 times the length of the front ones. When moving slowly, some jerboas move on all four legs, but most species only on the hind legs. When moving quickly, jerboas switch to ricocheting jumps up to 3 m long. Inhabitant of foothills and mountain steppe with xerophytic vegetation. It feeds on various seeds, ears of cereals, underground parts of some mountain-steppe and semi-desert plants.

Jaguar (lat. Panthera onca) is a species of predatory mammals of the cat family, one of four representatives of the genus panther (lat. Panthera), which belongs to the subfamily of big cats. The only representative of the genus in the territory of the Northern and South America. The third largest in the world, and the largest representative of the cat family in the New World. The range of the species extends from Mexico south to Paraguay and northern Argentina. Body length without tail 120-185 cm, tail 45-75 cm, weight 36-113 kg, mostly 60-90 kg, in some cases up to 120 kg. The female is 20% smaller and lighter. The height at the withers is 68-76 cm, rarely up to 81 cm.

At the beginning, we make a sketch and sculpt a bas-relief from clay. Clay is the best plastic material suitable for casting products. After the complete manufacture of our clay bas-relief, we apply a plaster solution to it. The solution in consistency is relatively liquid so that the gypsum can get into the fine relief of our stucco. After the gypsum has dried, after 2 hours, we take a cast and carefully wash it from the remains of clay. After that, we apply drying oil heated to 70 degrees on the gypsum cast, and after it dries, we glaze the workpiece with shellac varnish so that all the small pores of the gypsum are tightly sealed.

Making the bas-relief, our main task was to reduce the weight to a minimum, due to its size. Otherwise, its possible rearrangement would cause great physical effort. Therefore, papier-mâché was taken as the basis of our bas-relief

Papier-mâché (fr. papier-m â ch é "chewed paper") - an easily moldable mass obtained from a mixture of fibrous materials (paper, cardboard) with adhesives, starch, gypsum, etc.

One of the ways to make papier-mâché is to boil a newspaper in water with the addition of gelatin and carpentry glue. After the formation of the slurry from the newspaper, we poured it over the plaster cast we had previously made. After the newspaper had dried, having removed our blank from the cast, we swept the bas-relief from the front side with a liquid solution of gypsum. And after it dried, the details were worked out in thin stacks.

And at the end of our work, we glued our bas-relief to a tablet of the same format so that it could be hung on the wall.

This composition will always decorate the interiors of residential premises, the audience of subject disciplines of the institute, classrooms of the school, circles, and can also be used as a teaching aid in the lessons of fine arts.

The problems of improving the process of upbringing and education of preschool children are relevant, since it is during this period that the foundations are laid for various types of child activities that accompany the successful acquisition of knowledge, skills and abilities in the future.

For a preschooler, one of the important tasks is to master the skills of artistic and visual activity. In the practice of kindergarten work, little attention is paid to this issue, and the need is huge, since the insufficient level of mastering compositional skills at preschool age entails enormous difficulties for the entire subsequent period of teaching fine arts. It is very important that overcoming certain difficulties in the process of artistic and creative activity evokes in children a sense of satisfaction, faith in their own strength, in their creative abilities.

The greatest difficulties for preschoolers are compositional searches, the transfer of figurative expressiveness of form, proportions, color and space in children's works. To overcome them, some efforts and knowledge are required when performing fine and decorative works. Knowledge of the basics of composition and possession of compositional skills that affect the development of a creative personality should be laid down in childhood, as this forms elementary literacy in the perception of works of art and a holistic perception of the world in the future.

Preschool age is characterized as favorable for the development of productive activities. But in preschool practice, we often encounter the fact that sometimes it is difficult to achieve sufficiently competent and, at the same time, artistically expressive children's work on art activities. The reason for this is the underestimation of the educational and educational role of artistic composition. Composition, as a composition, interconnects all visual means and is “the most meaningful component of the artistic form”.

So, the encyclopedic dictionary of a young artist contains a definition: “Composition (from lat.compositio- composition, compilation, binding, connection of parts into a single whole in a certain order)- the construction of a work of art, due to its content, nature and purpose; the location and interconnection of its parts that form a single whole. As a rule, the composition is based on comparison with the main plot and thematic center of all less significant compositional elements. In addition to subordination, the field of composition also includes the choice, the composition of such elements.

The main task when choosing a composition is the desire to achieve such an organization of image elements that, in the completed surface finish, would have integrity and unity, where minor details would be subordinate to the main ones. According to these requirements, when arranging image elements, the following means of expression, rules and techniques are used: balance, contrast, rhythm, lines, chiaroscuro, etc.

The preschool period in the formation of compositional skills is extremely important and responsible. At the heart of visual literacy is a composition that covers almost any visual task. The visual activity of children is closely connected not only with mental processes (memory, thinking, perception, imagination), but also with the personality as a whole. It shows the interests of the child, temperament.

To create an emotional and figurative composition, children need to learn to see interesting events, characters, and motives in the life around them.

NOT. Mikhailova, a professional artist and teacher, notes that visual activity is the only area of ​​creativity where, in the learning process, complete freedom is not only permissible, but also necessary. For an adult, the result of an activity is important, and for a child, the process is of paramount importance. The author emphasizes that positive reinforcement by adults of children's work (understanding and approval) instills in the child self-confidence, in his abilities and strengthens interest in compositional literacy.

Color, form, composition are means of expressiveness of the image in children's works. However, the compositional structure, rhythm, color sounding do not exist by themselves; they are inextricably linked with the life basis of the images and are the expression of a certain thought of the author-child.

N.A. Vetlugina notes that each child has his own special store of impressions and observations. Individual features of life experience always affect the perception of plots. This circumstance is a source of uniqueness, originality, originality of the created images. Interestingly, a hundred, creating an image of the whole plot, striving for completeness, plausibility of the image, the child chooses, however, its most characteristic signs and features.

The ability to feel color, rhythm, composition, and plastic form is one of the most important criteria for assessing the creative nature of a drawing. As I have already noted, composition is a way of connecting images, a way of building a work. Experience shows that preschool children have an elementary idea of ​​a composition as a work created by an artist according to a certain plan, in accordance with which objects, parts of the image are arranged in a certain way. It does not cause any particular difficulties in the formation of elementary concepts about the shape of a sheet of paper, the scale of the image. By format they mean a shape that can be rectangular, square, round, etc.

A characteristic of preschoolers is that they distribute objects over the entire plane of the sheet, while maintaining, however, a sense of balance and compositional fullness. The child thinks of the horizontal plane in its real extent. The desire for credibility, accuracy and completeness of the image makes the child avoid conveying spatial relationships in which one object covers part of another. However, in the works of some preschoolers, one can also find an aerial perspective. The child's striving for rhythm is also very characteristic. Rhythm gives organization, orderliness to the construction of a drawing, application, modeling. This often corresponds to the topic chosen by the child. Often children in their plot works often violate the proportions of objects, although they do not notice this (the figure of a person is taller than a house, etc.). In an expressive image, the form serves as a means of conveying the character of the image. Children try to achieve expressiveness of the image through the image of certain postures, gestures, a certain arrangement of figures.

Fine art is formed due to the figurative vision of the child - the ability to observe, notice characteristics, details, analyze the shape, color of the object and at the same time the ability to maintain a holistic impression.

There is a certain pattern in the development of creative imagination: the greater the stock of visual representations obtained in the process of observing reality, drawing from nature and from memory, the more actively various associations and connections arise in the mind.

At preschool age, to activate observations, such a game technique is recommended - children “photographing” certain objects of reality through home-made cameras and then “development of pictures” in the form of drawings or applications. All this contributes to the ability to see an interesting motif of the composition in the surrounding life.

The lack of targeted systematic work to prepare children for visual activity reduces the level of artistic and creative activity, leading to errors in the image. This is usually due to the fact that children do not have a good idea of ​​the objects of the composition, therefore, before completing tasks, it is necessary to acquaint children with similar objects and phenomena, you can organize visits to museums, organize trips and excursions to nearby park areas, squares. This will be not only one of the stages of preparing pupils for the task, but also a means of aesthetic, patriotic education, and will expand the horizons of children.

According to E.A. Flerina “the creative nature of visual activity is determined by the conscious reflection in the drawing, application, modeling of those impressions that children receive from the perception of the world around them” .

In the process of didactic games, children acquire or consolidate knowledge about the properties of objects that are necessary to depict these objects in the composition of a drawing, modeling, and appliqué. These games are fun for kids to create. Preschoolers should learn the expressive possibilities of various formats, the rules and techniques for solving compositions in these formats. The color scheme of the entire composition can be built in warm or cold colors, on a combination of delicate or bright colors, with a predominance of contrasts. To achieve the color integrity of the composition, it is useful to invite children to work with two or three colors. This will help them avoid variegation and fragmentation in their work. The nature of the theme determines the color scheme of the composition. The coloristic solution of the theme creates one or another sound of the image.

It is also necessary to draw the attention of children to interesting events, characters, angles and conditions in the surrounding life. The constant implementation of sketches, sketches from nature develops not only the eye and hand, but also compositional thinking.

It is important to explain to children and let them feel that the movement can be of a different nature. It is useful to work in pairs. For example, in one, convey a sharp, fast movement using broken lines, and in the other, a slow movement, using calm rhythms, smooth lines.

It is important to use the contrast of shapes, sizes, color combinations, etc. in your work. The dynamism of some objects can be emphasized by the static nature of others.

When performing tasks related to the placement of geometric shapes, flowers, leaves on a plane, it is important to draw the attention of children to the fact that it is necessary to take into account free space, gaps between shapes. Do not forget about the selection of the compositional center, which plays an important role in solving the composition.

In the process of creating images, the individual characteristics of children are of great importance. They manifest themselves not only in a peculiar vision, but also in the preservation of an individual manner of performing their work.

Conclusion: the formation of compositional skills and abilities in children of senior preschool age depends on:

1. From the process of emergence and development of the creative visual activity of children (enrichment with impressions - the very act of creativity - the use of its products in life).

2. From the ways of the formation of an artistic image in children (the idea - the search for a means - the embodiment).

3. From the consistently changing relationship between an adult and children (showing the creative process - partial participation in it - an independent composition of children).

4. From the complex use by adults of various means, techniques, methods, forms that contribute to an independent compositional solution in drawing, modeling, and application of children.

Bibliography

1. Vetlugina N.A. Artistic creativity and the child. -M., 1972.
2. Features of the psychological development of children 6-7 years of age./Ed. D.B. Elkonin, A.L. Venger. -M., 1988.
3. Flerina E.A. Aesthetic education of preschool children. -M., 1961.
4. Shorokhov E.V. Composition. -M., 1986.
5. Shorokhov E.V. Methods of teaching composition. -M., 1977.
6. encyclopedic Dictionary young artist./Ed. I.I. Platonova, V.D. Simonova/. -M., 1983.

graduate work

1.1 The problem of the development of compositional skills of students in grade 6 in the classroom in fine arts

One of the most important tasks of modern art education is to increase the development of students' compositional skills in order to form a sense of beauty, develop an understanding of appreciating beauty and works of art in all their diversity.

Many theoretical artists dealt with this problem, for example, such as N. N. Volkov, B. V. Raushenbakh, E. V. Shorokhov, K. F. Yuon, G.K. Savitsky.

The famous artist Nikolai Nikolaevich Volkov wrote in his book "Composition in Painting" that among compositional tasks, the task of constructing space is one of the most important. The space in the picture is both the scene of action and an essential component of the action itself. In this environment, things and people can be cramped and spacious, cozy and deserted. In it one can see life or only its abstract image. There is a world into which we could enter, or a special world, directly closed to us and open only to the "mental" gaze.

Konstantin Fedorovich Yuon said that the experience of world art in composition managed to develop many precise methods (compositional skills) to obtain certain effects. Artists of different eras and peoples successively used these correct methods, without falling into a pattern and repetition.

Academician E.V. Shorokhov mentioned in his book "Composition" that it is possible to find the laws of composition and build a scientific theory only when we do not construct the laws of composition on the basis of inferences, but proceed from the really existing objective laws of shaping in nature and art.

The word composition comes from Latin word"composito", denoting a comparison, addition, connection of parts into a single whole, putting them in order,.

In its original meaning, this word had a rather broad meaning. It should be noted that already in the plant world there are two main compositional principles that we constantly deal with in art - this is symmetry and various objects based on forms created by nature and imitating it to some extent.

By imitating the individual principles of the structure of organic and inorganic nature and consistently developing them, a person makes the composition the basis of artistic creativity, a means of expressing his attitude to reality. Composition becomes in the hands of man one of the means of a kind of knowledge and subordination of nature. It is inherent in all kinds of art.

Thus, by the term composition we will understand; “composition is the construction of a work of art, due to its content, character and purpose, and largely determining its perception,.

In addition, composition is also the most important organizing component, unity and integrity, subordinating its elements to each other and to the whole. N.N. Volkov defined composition as follows: “The composition of a work of art is a closed structure with fixed elements, connected by a unity of meaning, .

The work on the composition goes from the initial idea of ​​its general “tie” in plastically visible forms, to the completion of the work. Compositional construction (compositional skills) includes the placement of an image in space - real (sculpture) or on the picture plane (painting, graphics) in the appropriate size, format and materials. Compositional skills are a set of mastered methods of performing actions to harmonize relations between parts and the whole, provided by acquired knowledge about materials, means, methods, and techniques of composition.

All compositional skills are aimed at achieving the integrity of the image and have a “figurative” nature, for this reason compositional skills can be called “figurative”. But compositional skills are heterogeneous in composition and can be divided into components. We can distinguish the following components of compositional skills, which differ in the nature of the prevailing mental processes: 1) figurative-logical component, which requires "analysis of the relationship between parts and the whole of the image" and the predominance of intellectual processes, 2) figurative component, which requires sensory perception image and the predominance of sensory processes, 3) a figurative-effective component that requires the effective embodiment of the image in the image” and the predominance of motor processes.

Now the problem of developing compositional skills, a sense of composition, a sense of harmony in the perception of the world is very relevant. The development of compositional skills allows the child to notice the beautiful and ugly in life in art, to understand and see the harmony of the world around.

In order to express their vision of the world in children's works in a brighter and more multifaceted way and to diversify the technique of their execution, children at the lessons of "Fine Arts" are taught various artistic and visual techniques necessary to create an image.

Thus, the task of a teacher of fine arts is to develop in children the sharpness and subtlety of perception of the world around us, the ability to creatively rethink it and express their vision, their feelings in the figurative language of fine arts.

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13 children (81.2%) could not quite correctly tell about the characters drawn in the illustrations. Children listed such objects as trees, flowers, stump, sun, sky, not noticing the main thing in these pictures.

Children did not pay attention to the fabulousness, the unusual character of the fairy tale. Of all the means of expression used, the children noted only the actions of the character (running, sitting, standing, rolling). Gesture, posture, facial expressions most often went unnoticed. Children called them if they were brightly presented. 7 children (43.7%) expressed their emotional attitude to the content expressed in the illustration slightly. So Lena F. clearly showed her emotional attitude to the illustration, where the gingerbread man sat on the nose of the fox. The girl especially liked the fox outfit, "she is like a lady." 9 children (56.2%), when looking at the illustrations, did not show any emotional response in relation to this or that illustration.

The second stage of the experiment included the following task.

This rear is carried out with a subgroup of children.

Material. Paint, gouache, a piece of paper with a silhouette of a swan painted on it, for each child.

The experimenter reads the nursery rhyme "Swan".

The teacher shows the children an illustration by Yu.A. Vasnetsov for this nursery rhyme (Appendix 4).

Appeals to children:

What swan did the artist draw? (important, white, beautiful).

How does a swan carry its head? (above the shore, proudly).

The teacher invites the children to consider how the swan is drawn. What kind of wings does she have? Like a swan shakes some water on the flowers.

What season do you think is depicted in the picture?

Why do you think the painting depicts a warm day?

It is explained to the children that the artist painted beautiful flowers because a swan waters them.

Then the teacher gives the children a sheet of paper with a silhouette of a swan drawn on it (Appendix 5) and offers to draw their own picture for a nursery rhyme.

An analysis of the activities of children showed the following, that not all events described in a nursery rhyme contribute to the emergence of an idea, but only those that interested children, caused surprise, struck their imagination.

In the process of drawing for some children (Galya R., Sasha K., Pasha B., Tanya K., Inga B.), the idea was not based on the original, quite distinct sensual images. The children planned to draw something, but their ideas about the intended objects were not clear. Having a clear idea of ​​the object, phenomenon, the children did not know what pictorial actions should be taken to depict in the drawing what they had in mind, and this is a necessary condition for the realization of the idea.

For example, Julia R., when asked by the teacher what she would draw, answered: “The sun.” The girl drew energetically, in concentric lines, without closing them in a circle, large in the middle of the sheet, blocking the silhouette of a swan with her image. This suggests that the girl does not own the composition. The lines were broken, with strong pressure. The girl painted the sun in yellow, she did not regulate the pressure during coloring.

Venus S., not being able to draw a round shape well, put a spot in the middle of the flowers, and from it she drew trembling, faintly noticeable lines in all directions. The girl painted the flowers with large sweeping movements that go beyond the outline.

Boris Z. painted over half of the sheet with blue paint, thereby depicting a river along which a swan swims. The boy did not respond to the suggestion of the educator to draw wavy lines that would represent waves and continued to color his work further. He couldn't draw anything else.

Based on character given task, we have developed criteria and indicators for assessing the level of a child's mastery of visual activity.

Criteria and indicators for assessing the level of mastery of visual activity

Form submission:

The form is passed accurately - 3 points;

Form failed - 1 point.

The structure of the subject:

Parts are located correctly - 3 points;

There are minor distortions - 2 points;

Parts of the object are located incorrectly - 1 point.

3. Transferring the proportion of the subject in the image:

The proportions of the subject were respected - 3 points;

There are minor distortions - 2 points;

The proportions of the object are transferred incorrectly - 1 point.

4. Composition.

A) the location of the images on the sheet:

All over the sheet - 3 points;

On the strip of the sheet - 2 points;

Not thought out, is random - 1 point.

B) the ratio in size of the different images that make up the picture:

Proportionality is observed in the image of different objects - 3 points;

There are minor distortions - 2 points;

The proportionality of different objects is transferred incorrectly - 1 point.

The real color of objects is transferred - 3 points;

There are deviations from the real color - 2 points;

The color is transferred incorrectly - 1 point.

According to the developed criteria and indicators, we have compiled a summary table (Appendix 6).

The highest score a child could receive was 18 points. On the basis of the accumulated amount, we differentiated children according to the level of mastery of visual activity. To do this, we have compiled a ranking series (Appendix 7).

We conditionally divided the ranking series into three groups. Each of these groups was assigned to the highest, middle, low levels (according to the number of points scored).

So we determined that:

the highest level will include children who scored from 13 to 18 points;

to the average level - 7-12 points;

to low - children who scored less than 7 points.

The level of children's mastery of visual skills can be seen in Figure 2.

Fig. 2 Number of children by levels of mastery of visual skills.

We see that children high level there is no mastery of visual skills, 14 people (87.5%) are at the average level, with a low level of 2 children or 12.5%.

Based on the results of the completed tasks, we compiled a summary table to determine the average level of development of visual knowledge, skills and abilities of the child (Appendix 8).

Based on the results of the ascertaining experiment, out of 16 children, we identified two groups of children that make up the experimental and control groups. We distributed the children so that each had approximately the same number of children by gender and developmental levels.

We have the following groups (table 1 and 2).

	Name of the child	State of the art		Name of the child	State of the art
	Alexandra K.
	Ruslan B.
	Series M.			Ildar M.
				Venus S.

Thus, we have identified further prospects for the development of plot compositions in children. The formative stage of the study was carried out with an experimental group of children.

2.2 The development of plot compositions in the drawings of children in the process of familiarization with the illustrations of Yu.A. Vasnetsov (formative experiment)

Analyzing the process of creating images by children according to the plan, the finished products of their activity and comparing them with the analysis of the artist’s work (M.I. Bogacheva, L.S. Vygotsky, V.G. Zlotnikov, P.P. Chistyakov, etc.), we identified the following stages of the formation and implementation of the idea in the drawing of preschoolers (which, however, are also characteristic of other types of visual activity):

Accumulation and refinement of ideas about the surrounding life by organizing the viewing of book illustrations.

Determining the theme of the drawing.

The choice of materials for drawing in terms of the child's preferences, their greatest expressiveness to solve the topic, the choice and refinement of ways to create images.

Clarification of ideas about objects, phenomena (plot, characters literary work) that will be displayed before drawing starts.

Planning for the implementation of the plan. Determining the order in which the image is created.

Clarification of ideas about the depicted objects, if necessary, in the course of the implementation of the plan by additional consideration of illustrations, additional explanation, reminder.

Activation of the use of various ways of creating an image, expressive means.

Evaluation of the resulting product in terms of the completeness of the implementation of the plan (control by result), the methods of representation and expressiveness used.

Enrichment, complementing the drawing based on the score.

Analysis of the finished drawing, highlighting an interesting, expressive solution of images.

Based on the results of the ascertaining experiment, we proceed to the formative stage of our study.

The purpose of the formative stage: the development and testing of the methodology for the development of plot compositions in the process of familiarization with the illustrations by Yu.A. Vasnetsov.

Find the best ways, means and forms of work for the correct transfer of the literary image in the plot drawing with the help of illustrations by Yu.A. Vasnetsov.

To teach children to use a combination of various visual materials to make their drawing unusual.

To develop creativity in children in the compositional construction of a drawing, on the material of illustrations by Yu.A. Vasnetsov

At this stage of the study, the following forms and methods of work should be applied:

listening to a literary work;

consideration of illustrations by Yu.A. Vasnetsov to the works;

coloring;

drawing;

drawing the plot of a literary work, which was illustrated by Yu.A. Vasnetsov.

The work was carried out according to the system proposed by Kurochkina N.A. So, the first lesson we devoted to the role of illustrations in the book. (Annex 9)

The main material in the work is Yu.A.Vasnetsov's illustrations for children's books. This choice was not made by chance, as this artist is able to deeply reveal the content of a fairy tale, nursery rhyme, subtly convey its mood. With drawings that are simple in composition, using expressive means understandable to children, he skillfully guides children's perception and awakens in the child the feelings of compassion, sympathy, and joy.

We devoted the next lesson to the work of Yu.A. Vasnetsov. To do this, we selected books illustrated by this artist, brought his portrait to the group. Books were arranged in advance in the book corner to give the children a good opportunity to examine them. AT free time we read these books to the children so that the children would remember some nursery rhymes and poems. Acquaintance with creativity, in our opinion, will arouse in children responsiveness to everything good and beautiful, will instill interest and love for book graphics. First of all, we focused our efforts on the study of the artist's work (Appendix 9).

Having learned about the artist's childhood, the teachers told the children about the pensive forest region where the artist was born and grew up, about the friendly city of Vyatka (now Kirov).

In the following classes (Appendix 10,11), we continued to acquaint children with the work of Yu.A. Vasnetsov, forming their interest, emotional responsiveness and empathy for artistic images, the desire to carefully consider illustrations, rejoice and be surprised at the interesting and expressive drawings of the artist, the ability to express their attitude, their judgments, entering into a conversation with adults and comrades.

Educators drew the attention of children to the similarity of the Dymkovo toy with the drawings of Yu.A. Vasnetsov. Considering the Dymkovo horse, and then Yu.A. Vasnetsov’s illustration for the nursery rhymes “Ivanushka” and “Horse”, they said: “The Dymkovo horse and the horse Ivanushka rides are very similar. They are decorated with big circles and dots, and they have the same mane."

Having got acquainted with the works of the artist closer, we were convinced of his ingenuity: how many illustrations were created, and among them there was not a single repetition. Many characters were drawn by the artist, but they are all different. Everyone has their own character, their own manner of behavior, their own style of dress.

In the illustration for the nursery rhyme "Mice", we drew the attention of the children to how the artist painted nineteen mice, and they are all in different clothes: the mouse girls have bright skirts decorated with stripes, and the boys have multi-colored shirts with buttons.

Looking at illustrations with children, we taught them to look and see how much humor and fiction the artist put into his fairy tale pictures.

For example, depicting a mill where Kisonka-Murysonka (the nursery rhyme "Kisonka") went, the artist came up with a lot. The fairy windmill is decorative. It is decorated with arcs, glasses, wavy and broken lines. The wings of the windmill are woven from old light shingles. A cute little mouse lives in the mill. He climbed behind the window sill and looks out the window with interest. Amazing magic flowers grow around the mill, which shine so beautifully in the sun. Kisonka put the gingerbread into a large wicker basket. Gingerbread cookies are white with beautiful patterns and very appetizing!

The children's attention was drawn to the fact that despite the fact that the nursery rhyme says nothing about whom Kisonka met along the way, the artist himself invented and depicted this meeting. The children gladly joined the game started by the artist and, peering at the illustration, said: “When Kitty was walking from the mill, she met an old hare. I think that she is old because the picture shows summer, and the hare is in felt boots and with a stick, - says Tanya K. - Kitty is very beautiful, fluffy, in a smart skirt, with a bow around her neck. But I don't like her because she's greedy. She has a lot of gingerbread, a whole basket, but she didn’t treat the old hare to them. I ate everything myself."

By introducing the artist's illustrations, we taught children to see what kind of load color carries in them. Children were introduced to color as a means of conveying the emotional state of the characters, mood, seasonal and temporal changes in nature. For example, in the illustrations for the nursery rhymes “Skok-po-kok” and “Horse”, the bright yellow background not only conveys a warm sunny day, but also enhances the perception of the images created by the artist. On a yellow background, dark brown figures of baby squirrels are clearly visible, importantly walking along the bridge. Thanks to the light background, the children saw the fluffiness of their fur, admired the tassels on their ears.

Color gives children's drawings expressiveness. The consistency of color shades for expressing color is of paramount importance. Preschool children can already complete tasks based on contrasting and tonal combinations of colors. Illustrated material will be of great help in understanding color combinations.

The transfer of color is one of the most important tasks in achieving the expressiveness of the picture. The correct pictorial transmission of lighting and the correct selection of colors are one of the necessary conditions for color consistency. Both in the classroom and Everyday life the children were told and shown the difference in color between cloudy and sunny weather. Specially selected paintings by Yu.A. Vasnetsov are of great help here. The illustration, written in grayish, dull colors, seems cold, rainy. A sunny day is transmitted in bright contrasting colors. Those objects that are closer to us appear darker, and the farther away objects are, the lighter they appear.

The children were taught how to use paints of the same color. For example: to draw a river, you need to take dark blue paint. To make the sky lighter than the river, to do this, take blue paint, or add a little white to blue, otherwise the same colors will merge, and it will be difficult to make out where the sky is and where the river is. Or, if the grass is painted dark green, then to paint the leaves you need to take the greens a little lighter, while you can add yellow paint to it.

We introduced children to Yu.A. Vasnetsov's illustrations not only in drawing classes, but also in modeling, appliqué, speech development, and music.

For example, when telling children the fairy tale "Three Bears", we showed Yu.A. Vasnetsov's illustrations for it. The illustration for the nursery rhyme "Cockerel" was used several times: in classes for the development of speech and fine arts, as well as in a music lesson when singing a song about a cockerel. Thanks to the work done, the bright, expressive image of the cockerel became close and understandable to children. They peered with interest at the illustration, asked the teacher who lives behind the forest that the artist depicted in the distance. Alina M. said that there was a village beyond the forest and that her grandparents lived there. But to Ruslan B. this forest seemed dark and scary, and he decided that Baba Yaga lives there.

When looking at the illustrations, the children were asked:

“Why did the artist choose this paint color and not another?”

“What would happen if there was light blue instead of blue?”

These questions made the children understand that the color in the picture is not taken by chance, but serves as a means of expression.

When looking at the illustrations by comparing the picture, it was possible to show the children how the color of snow changes at different times of the day, at night, how colors change depending on sunny, cloudy weather, etc.

As the survey showed, children usually imagine snow only as white. When looking at the illustrations, it turns out that they perceive color combinations more subtly and look for words to express a different state in the depicted nature.

Considering the illustration for the nursery rhyme “Horse”, Kolya O. said: “The sun is shining brightly, brightly. It is warm and light on the shore, and therefore we can see the horse well. The mane and tail are decorated with bows, the harness and the saddle are embroidered with various patterns.

Introducing children to the work of Yu.A. Vasnetsov, teachers tried to show them that although birds and animals look like toys, at the same time they are very original and expressive. Fairy-tale images are close and understandable to preschoolers, because the artist has found a form of their transmission that corresponds to the peculiarities of children's perception. Classes were held with children on the topic "How Yuri Vasnetsov painted animals."

Children's attention was also drawn to the construction of the image on the page of the book: where and how the artist draws the main character, how the drawing accompanies the text, explaining it. Children got acquainted with the role of illustrations for the book, with the one who creates them; learned about the work of an illustrator. They expressed their judgments and assessments using emotional, moral and aesthetic definitions.

The next stage of the work was to familiarize the children with such means of expressiveness of the drawing as the image of movement, the poses of animals. For this, we used the games: “Who is running, who is sitting”, “How are animals different?”, “Guess who is doing what.” (Appendix 12). Illustrations were selected, where animals are vividly conveyed in different poses, in motion and static. We took images of one character, for example, a bunny: the bunny is dancing (the nursery rhyme “Hare, go out into the garden ...”), the bunny is sitting and eating porridge (“Forty-white-sided”), the bunny is crying, running away (“Bunny’s hut”), the bunny sat down - saw a mushroom (“A mosquito sat on a bush”), etc. Offering children illustrations with the same characters, we drew their attention to the fact that the artist depicts animals and birds in different ways. So, to the nursery rhyme “The cat went to the market”, he portrayed a very economic cat, importantly walking with a roll under his arm. Cat in big, painted boots. There is fluffy snow outside. And around the fabulous lanterns, snowflakes staged a round dance. In another illustration, the artist dressed up the cat as if for a holiday: a bow, a bright shirt and a fluffy mustache.

To teach children plot drawing, it is necessary to use fairy tales, according to which drawing is carried out repeatedly (“Three Bears”, “Cat, Rooster and Fox”, “Teremok”). (Appendix 13.) The content and ideas of the selected fairy tales should be clear to children. Drawings can be recreated only from the text of such a work, where the pictures are really meant and imagined. The episodes of the selected fairy tales are selective.

The main characters involved in these tales are available for the image of a preschool child. These are animals: bears, fox, hare and others.

Fairy tales and nursery rhymes give children the opportunity in their drawings to combine several objects into a simple plot, that is, to express the relationship between the characters, reflect the situation of the action, express their attitude to the event depicted.

The main thing is to direct the attention of children when perceiving the illustration to the color scheme of the theme and use color in the drawing as a means of expressing the content.

Looking at the illustrations with children, we observed the following. Children joyfully, with a smile, they perceived the cockerel and the radiant sun. But how quickly the children's mood changed when they saw a goat with kids and a wolf hiding behind a tree.

The children were also worried about the cat whose house caught fire, and really wanted to help her. Looking at the illustration, the children found new interesting details.

Julia R. noticed that the mice ran to the fire, but they could not help the cat. “They didn’t even bring water with them. They are bred with their paws, and that's all! ”She noted with chagrin. “I'm afraid,” said Ildar M., “that the chicken will spill the water. She runs very fast."

In the process of forming the idea of ​​the plot of the drawing, it was very important for us to help with visual material, to deepen the visual image of what was read, to help imagine the situation, the time of action, appearance heroes. Representation of a sensual nature can be formed only through the perception of the object itself or its image.

A variety of content is expressed in the visual arts by certain means (the shape of objects, color, composition). Children more accurately and subtly perceive the shape and color, rhythm, symmetry in the surrounding reality. In the children's ideas on topics from the surrounding reality, such comparisons already appear that may indicate some elements of the artistic perception of reality.

One of the features of the formation of images of future plots under the influence of illustrations is that the illustration provides material to create new images through complex processing of what is seen, the ability to mentally combine images in new combinations and combinations is manifested.

In the classroom, the children had a desire to approach the solution of the image, using the movement of the characters. Active and independent study of perceived illustrations enabled the child to find a creative solution to the image in his own drawing.

All children learned the realistic transfer of form with its features and the relative proportionality of parts. The fox has an elongated sharp muzzle, sharp small ears, a long fluffy tail; the hare has long ears, a short tail, an oval body; a bear with short thick legs, a large head, he has semicircular small ears.

But for the expressiveness of the picture, not only the transfer of signs is needed, but also the transfer of the character of the image. Character is not only variety, but also certainty. This is very important for creating a full-fledged, bright, expressive image. Something leading is always revealed, the main thing that determines the behavior of the character. Often the same characters appear in different works, but they are different in character.

In order for the children to correctly convey the image of a particular character, we revealed to them the characteristic features of this character, showed illustrations with these characters, as a result, the drawings became expressive.

In almost every fairy tale, there are fabulous huts: simple, on chicken legs, towers, rich palaces. The heroes of Yu.A.Vasnetsov's illustrations live in huts with bizarre and amazing patterns. Look at the house and say who lives in it. For the bunny, the artist painted a small, simple hut, and it stands on a stump. For three bears there is a big strong house made of thick logs. Children tried to draw them, but they did not always work out. On this topic, we conducted a subject drawing (Appendix 14). The children were asked to imagine that there is fairytale house in which one of the animals lives. And after the lesson, they showed illustrations from the books: “Ladushki”, “Teremok”, an album with postcards and pictures depicting various towers. Attention was drawn to the colorfulness, the variety of forms, the different painting patterns, the ornate carving on shutters, balconies, and the roof.

In their free time, they showed how easy it is to draw a log hut, so that after painting over it, logs can be seen (draw stripes of black paint over a dried background with a thin brush).

After that, we carried out drawing according to the fairy tale “Teremok”. The children know the content of this fairy tale well, only once again they remembered who lived in it. Children independently chose a plot from a fairy tale and associated it with the image of the tower in the illustration. They already clearly imagined what a fairy-tale hut could be, and each depicted it according to their own taste, showing fiction and fantasy. In such classes, each child tried to come up with something of his own, to supplement the work with something special.

After a series of classes, the children already had an idea and skills in drawing not only animals, but also huts, they could choose such colors that harmonized beautifully with the background and one with the other.

They knew with what elements to decorate the hut of fairy-tale heroes, they could draw fairy-tale trees, on the image of which they worked in the classroom.

In order for the children to have a clear idea of ​​this or that animal from the fairy tale, we showed illustrations and emphasized the characteristic features of animals, the position of the body, the head.

It was explained to the children that in the drawings it is necessary not only to depict an animal, but to compose a composition that unites animals. It is necessary to see and comprehend the pose of animals, since the location of the figure in space and gives the plot and fabulousness of the image. To convey the relationship of characters, the dynamics of action (Appendix 15).

In order to introduce children to the creative manner of drawing fairy-tale images of plants, flowers, trees by the artist Yu.A. Vasnetsov, a lesson was held (Appendix 16).

Perspective image is not available for children 4-5 years old. Therefore, our task was to teach the correct construction of the composition on the plane of the sheet.

The choice of composition has always been independent. The children were not given direct instructions to learn how to correctly set up a composition, so modeling was used.

In order to consolidate the ideas of children about the features of the creative manner of the artist Yu.A. Vasnetsov, a game was held: “Find the drawings” (Appendix 15)

Yu.A.Vasnetsov's illustrations helped to enhance the transmission of fantastic elements in children's drawings with their visual and expressive means.

2.3 The effectiveness of the use of illustrations Yu.A. Vasnetsov as a means of developing plot compositions in the drawings of children of middle preschool age

After the completion of the planned work plan for the development of plot compositions in the drawings of children of middle preschool age in the process of familiarization with the illustrations of Yu.A. Vasnetsov, the control stage of the experiment was carried out.

At this stage, the effectiveness of the used classes of the formative experiment in the experimental group was investigated. The results of compositional skills and abilities of the experimental and control groups were compared. In the control experiment, the same technique was used as in the ascertaining stage.

The results (Appendix 17) of the first task in the experimental group to identify the level of perception of artistic illustration pleased us.

Thus, all children (87.5%) of the experimental group increased their level of perception of book illustrations to high, 1 child increased their level from low to medium (13.5%).

If during the ascertaining experiment it was difficult for children to understand the content of the illustration, then after the classes, the children could compare this or that illustration with the text of the fairy tale.

Children freely found the difference between the fairy tale characters drawn by E. Rachev and the characters in the illustrations by Yu. Vasnetsov. Preschoolers clearly showed their emotions in relation to what was expressed in the illustrations. So, for example, Pasha B. closed his eyes with his palms when he saw an illustration depicting a bun on the nose of a fox, “Oh, I'm afraid,” said the boy. Ruslan B., noted that even though the artists painted the bear formidable, “but he is still kind.” Children, without much difficulty, determined the moments where the gingerbread man sings a song “He raised his face up and opened his mouth, which means he is singing a song,” explained Alexandra K.

The dynamics of the increase in the level of perception by the children of the experimental group in comparison with the results of the ascertaining experiment is shown in Figure 3.

Figure 3. Dynamics of increasing the level of perception of book illustrations in the experimental group.

Children in the control group did not fully understand the content of the illustration. The guys celebrated general characteristics heroes evil, cunning, clumsy. To the question of the teacher “By what signs did they determine this?”, the children found it difficult to answer. Vanya Z. said that “these animals are always like that”, he could not single out expressive means emphasizing these characteristics. Another 6 children of the control group did not cope with this task.

The results of the task in the control group are shown in the table (Appendix 18) and Figure 4.

Figure 4. Comparative data on the criteria for the perception of artistic illustration between the control and experimental groups.

Comparative analysis indicators of both groups showed that in the children of the experimental group during the formative experiment, the level of perception of book illustrations significantly increased. The number of children with a high level of development has increased from 2 to 6 people, with a low level of perception of book illustrations in the experimental group there are no children.

If we compare the results of the task in the children of the control group to identify the level of perception of book illustrations between the ascertaining and control stages of the experiment, we can see the following. (Table 3)

Table 3. Comparative data of the ascertaining and control stages of the experiment in the control group (persons).

The obtained indicators characterize a significant increase in the level of perception of artistic illustration in children of the experimental group.

In the control group, some progress can also be observed, but it is not so noticeable. With a high level of development, as there were no children; the increase in the number of children from 7 to 8 people occurred due to the fact that 1 child moved from a low level to an average one.

The second task of the control experiment had the same goal as at the ascertaining stage of our study. Instead of the nursery rhyme "Swan", the children were offered another nursery rhyme "Grandfather the Hedgehog". The children were given sheets of paper with a painted silhouette of grandfather Ezhka (Appendix 19). The teacher offered to finish the illustration for this nursery rhyme.

The results of the task are presented in the table (Appendix 20), fig.5.

Figure 5. Comparative data on the criteria for mastering visual activity between the control and experimental groups.

In contrast to the compositions of children in the control group, the children of the experimental group in their drawings also depicted secondary images of the fairy tale, the description of which is not indicated in the text, and they are represented insignificantly or completely absent in the illustrations. Such images can be considered drawn by children: Christmas trees, bare bushes (characteristic of displaying the cold season), the sun.

Thus, we see that the children of the experimental group consciously approached the choice of means for realizing their plan. In the case of a general direction of the topic, each person forms his own idea, an idea of ​​what he will draw, how he will solve the task assigned to him. In the classroom of the control stage, each child created his own illustration for the nursery rhyme. Even when the theme of the picture coincided with the artist's illustrations, the solution was original.

We explain the degree of increase in the level of proficiency in expressive means in the experimental group by the fact that purposeful work was carried out with children. Specific instructions were given before the start of classes, as well as the interest of children with the help of an unconventional form of conducting classes. The individual dynamics of the development of plot compositions in children's drawings, separately for each lesson, based on the results of ascertaining and control experiments, is shown in Figure 6-9.

We were helped to find the right ways of directing creativity by revealing the relationships characteristic of children's creativity between the unfolding of plot action and the "revival" of the image. Inclusion of the depicted subject in life situation changes the child's perception of his drawing. The child sees in it a reflection of true life. This makes it possible to direct the conscious work on the expressiveness of the image in a form accessible to the child.

Fig. 6 Dynamics of increasing the level of perception of book illustrations in children of the experimental group.

Fig7. Dynamics of increasing the level of perception of book illustrations in children of the control group

Fig8. Dynamics of increasing the level of mastery of visual activity in children of the experimental group.

Fig. 9. Dynamics of increasing the level of mastery of visual activity in children of the control group.

From the foregoing, we can conclude that the level of perception of book illustrations and the level of mastery of visual activity increased in both groups, however, the dynamics of its increase in the experimental group was higher than in the control group for all indicators. The increase in these indicators indicates that the set of classes developed by us for the development of plot compositions in the drawings of middle-aged children in the process of familiarizing themselves with the illustrations of Yu.A. Vasnetsov is quite effective. The obtained indicators indicate an increase in the level of compositional construction of the picture. This allows us to judge that most of the children have acquired the skills of finding adequate expressive and visual means to embody the image in the drawing. It can be assumed that these children have a prospect for the further development of fine arts, since the formed compositional skills and abilities through variable and integrated activities contribute to this. Based on the analysis of the experimental work, we can conclude that the hypothesis put forward by us is correct and that the experimental work has been constructed. The development of plot compositions in the process of familiarization with the work of Yu.A. Vasnetsov will be successful if, in the process of educational work, such pedagogical conditions are created as: acquaintance of children with the work of illustrators in the context of the complex use of different types of children's activities;

methodically competent guidance of the visual activity of children, ensuring their mastery of this activity.

The materials obtained by us allow us to conclude that the basis for the development of plot compositions in children's drawings in the process of familiarizing themselves with the illustrations of Yu.A. holistic impression of the illustration.

Conclusion

Of great importance in the process of creating images are the individual characteristics of children in the conscious use of expressive means of visual activity.

In the process of experimental work, we found that an illustration, together with the text of a literary work, can be a strong emotional stimulus that actively nourishes children's creativity. Intense emotional impact, high artistic level of illustrations leads to interesting and diverse images in children's drawings.

A study aimed at elucidating the effectiveness of using Yu.A. Vasnetsov's illustrations in the development of plot compositions in children's drawings confirms that children, when they get acquainted with the expressive means of illustrations, learn various ways of drawing with different visual materials.

Book illustration is capable of performing the most important functions: cognitive, hedonistic, suggestive, transformative, socializing, compositional, etc. It helps the child to feel more acutely what is happening, enriches the world of his emotional experiences.

Under the influence of showing illustrations, the images in the plot composition are concretized, they are enriched by using and combining the details seen, the properties of the object, a pronounced emotional attitude towards the hero and the plot is manifested, the child’s attention appears on how to convey the image, the depicted event. In the drawings, under the influence of illustrations, expressiveness appears.

Showing illustrative material helps the child to find various ways of compositional construction of the plot when conveying his idea.

This is expressed in the fact that under the influence of illustrations, expressiveness appears in the images of children's drawings, their characters are transmitted through postures, gestures, movements, characteristic details, color is used as a means of expressing content, various compositional solutions are given.

Under the influence of a purposeful display of works of fine art, the content side of the image is enriched in children's drawing, the subject expands, the idea is concretized, a pronounced emotional attitude towards the hero, the plot is manifested, illustrative material and iconic modeling help the child find various ways to embody the idea in creating expressive images, using color, form, composition. When perceiving art, observation, imagination develop, that is, those qualities of the child's personality that determine the formation creativity. The artistic abilities of a child are manifested if he:

not finding words, or choking, resorts to drawing in order to express his feelings or moods;

in his drawings or paintings reflects the whole variety of objects, people, animals, situations, and does not “go in cycles” in the image of something quite successful;

takes works of art seriously, becomes thoughtful and very serious when any work of art or landscape attracts his attention;

when he has free time, he willingly draws, draws, combines materials and paints;

seeks to create some work of obvious applied value - decoration for the house, clothes or something similar;

he is not shy to express his own opinion about classical works, and, moreover, he may even try to criticize them, citing quite reasonable arguments.

In the process of our study, children revealed the content of the work better, showed an aesthetic attitude to the characters depicted by transferring color, i.e. singled out a large number of means of expression.

Children better perceived and understood the relationship between the characters, learned to understand the meaning of the depicted movement, to distinguish, note the setting of the figures.

After conducting a series of lessons on teaching plot drawing, children's drawings are distinguished by the real use of color, a clear depiction of forms, compliance with symmetry, a more appropriate transfer of the size of an object and proportion, and the most successful composition.

An experimental study aimed at determining the effectiveness of children's acquaintance with the illustrations of Yu.A. Vasnetsov in the compositional construction of a drawing, its emotional and aesthetic means, confirms the mastery of children by more complex plot compositions in drawing.

The game exercises and tasks developed by us, aimed at developing the creativity of children, evoke in them both intuitive, deliberate and independent, and imitative actions.

We come to the conclusion that the development of compositional skills and abilities depends on:

from the process of emergence and development of children's creative visual activity (enrichment with impressions - the very act of creativity - the use of its products in life).

from the ways of the formation of an artistic image in children (the idea - the search for a means - the embodiment).

from the consistently changing relationship between an adult and children (showing artistic and creative material - highlighting the main thing in this material - an independent composition of children).

Based on the foregoing, based on the results of our experiment, we recommend that educators preschool institutions, leaders of circle work on visual activity more often use drawing on the plots of book illustrations in practical activities with children.

Our method of varying and combining different methods of forming a compositional structure can preserve and develop children's creativity through book illustration.

Bibliography

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9. Upbringing and education of children of the 6th year of life. / ed. L.A.Paramonova, O.S.Ushakova, -M., 1987- 233p.

10. Volkov B.S., Volkova N.V. Methods for studying the child's psyche. - M., 1994-289s.

11. Doronova T.N., Yakobson S.G. Teaching children 2-4 years old to draw, sculpt, apply in the game - M., 1992-268s.

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term paper, added 01/06/2014

Psychological and pedagogical characteristics of youth. The essence of intellectual skills of students. Pedagogical conditions for the formation of intellectual skills in UNPO. Development of a problem task in the discipline "Technology of garments".

term paper, added 04/20/2012

Analysis of Psychological and Pedagogical Literature on the Problems of Development of Playing Skills in Children early age. Organization and conduct of the formative stage of the experiment on the formation of the development of gaming skills of preschoolers, characteristics of pedagogical conditions.

term paper, added 06/16/2016

Development of a block of lessons aimed at developing compositional skills in students when creating a still life in the classroom in fine arts. Pedagogical conditions for conducting experimental and search work on the development of students' compositional skills.

thesis, added 05/18/2013

Prerequisites for the formation of labor skills in younger preschoolers. Orders as a form of organization of child labor. Implementation of an individual approach to children in the process of organizing assignments. Studies of the level of formation of labor skills.

term paper, added 08/29/2011

Artistic means of graphics as a form of art. Psychological foundations for the formation of visual skills in preschoolers. Issues of teaching drawing in pedagogical research. Substantiation and development of a methodology for teaching graphics "scrattage".

thesis, added 03/23/2014

Psychological and pedagogical features of the development of communication skills in children of senior preschool age, the formation of communication skills and interaction of a preschooler with adults and peers, readiness for joint activities with peers.

thesis, added 01/28/2017

Psychological and pedagogical aspects of the formation of skills to solve text problems by younger students. Analysis of program requirements for the formation of skills to solve text problems. Methods, forms, techniques for the formation of skills. Diagnosis of the level of formation.

thesis, added 07/14/2013

Consideration of the concept and essence of the condition as an environment in which certain pedagogical processes take place. The study of the stages of formation of research search skills in older preschoolers. The influence of the subject-developing environment on the development of the child.

Even the most capable person will not be able to advance in their endeavors without a good education. However, in order to give a person such an education, it is necessary to teach him correctly, to correctly carry out this most difficult pedagogical process. An important task of the school is to receive from students the deepest and strong assimilation of knowledge, develop skills and abilities, and use them in practice. Based on this, it is necessary to carry out the educational process so that students have an excellent command and use of the material being studied. All this requires a deep understanding of the theoretical foundations of training and the development of appropriate skills.

The success of a certain activity depends on skill. As a systemic education, skill contains knowledge, techniques, skills, and other components of the individual experience (sensory, practical, intellectual, emotional, reflective) of the subject. It is based on the knowledge and skills of a person, as well as on her willingness to successfully perform a certain activity.

The skills of different researchers were interpreted in different ways:

Ability to purposeful and effective activity (N.A. Loshkareva, D.B. Elkonin);

Separate activity aimed at achieving a specific goal (K. K. Platonov, V. V. Davydov);

Personality quality (O.A. Abdulina).

Skills are a way of performing actions mastered by a person based on acquired knowledge and skills.

Skill learning proceeds through the setting of tasks for students that require

applying the knowledge they have acquired. Students engage in research activities various methods: for example, by trial and error, deliberately, creatively applying heuristic methods. In the process of solving, they determine the type of problem and learn the proper operations to solve it. Often students are deliberately taught the mental activities necessary for the application of knowledge. In practice, teachers use different ways of developing skills, rather it happens subconsciously.

Now let's move on to compositional skills, directly to the term "composition".

At all times, fine arts have occupied a special place in the various activities of the student. An important task for the student is to master the compositional skills of artistic and visual activity. Knowledge and possession of compositional skills should be laid from childhood.

The basis of visual literacy is composition, which covers virtually any visual task.

Composition (from Latin compositio - compilation, binding) - the construction of a work of art, due to the content, nature and purpose, and largely determining its perception. Composition is an important, organizing particle of the artistic form, adding unity and integrity to the final work, subordinating its components to each other and to the whole.

One of the important tasks of modern art education is to raise the development of students' compositional skills in order to form a sense of beauty, to form an understanding of appreciating beauty and works of art in all their diversity.

Many theoretical artists dealt with this problem, for example, such as S.G. Ushakova1, B. V. Raushenbakh2, E. V. Shorokhov3, N. N. Volkov, O. L. Golubeva4, G.K. Savitsky and others.

AT this moment the problem of developing compositional skills, a sense of composition, a sense of harmony in the perception of the world is extremely relevant. The formation of compositional skills helps the child to notice the beautiful and ugly in life in the fine arts, art in general, to perceive and create the harmony of the world around us.

The famous artist Nikolai Nikolaevich Volkov in his book "Composition in Painting" wrote that in a variety of compositional tasks, the task of constructing space is one of the most fundamental.

Konstantin Fedorovich Yuon said that the experience of world art in composition managed to develop many precise methods (compositional skills) for obtaining certain effects. Artists of various eras and peoples used these data hereditarily, without falling into patterns and repetition.

E. V. Shorokhov mentioned in his book “Composition” that it is possible to find the laws of composition and build a scientific concept only when the laws of composition are not formed based only on the basis of inferences, but begin to proceed from the actually existing objective laws of shaping in nature and art.

In order to express their vision of the world more vividly and multifaceted in student works, schoolchildren in the classroom learn various artistic and visual techniques necessary to create an image. And one of these decorative techniques is "collage".

Collage, at present, is increasingly beginning to be used by professional artists in different types decorative art as a technique for creating fine and decorative works of art. This is a fairly fast and convenient method of sketching when searching for compositional solutions, a method for decorating various premises (schools, child care facilities, etc.), a method for creating theatrical scenery, designing a costume, and, of course, when teaching at school, kindergarten and other educational institutions. He, as an independent work of art, has specific expressive properties, and the process of its creation - many artistically developing, educational and educational functions.

The use of the "collage" technique in classes with students of specialized classes is the most appropriate for the development of compositional skills of schoolchildren, since with the help of individual elements attached to the plane it is easier to fold and arrange any compositional solutions. And also constant interaction with the material helps students develop these skills in the future.

Based on the foregoing, the task of the teacher is to develop in children the sharpness and subtlety of perception of the world around us, the ability to creatively comprehend it and express their vision, their feelings in the figurative language of fine art.

Bibliography

1. Golubeva O.L., Fundamentals of composition, Izdat. House: "Art", M.: Image. art, 2001;

2. Raushenbakh B. V. Spatial constructions in painting, an outline of the main methods, ed. "Science", Moscow 1980;

3. Ushakova S. G. The development of compositional skills of students of art departments of the university [Electronic resource]: monograph / - 2nd ed., ster. - M.: FLINTA, 2014. - 147 p.;

4. Shorokhov E.V., Fundamentals of composition, Moscow Enlightenment, 1979, 303 p.