Over the centuries, the school has accumulated quite a lot of experience in teaching children. Thus, there are different points of view on the concept, the effectiveness of the application of various methods and principles of teaching.

The learning process is a rather complex phenomenon, and it cannot be represented as a simple transfer of knowledge by a teacher to students who do not yet possess this knowledge. Here, naturally, questions arise: “What to teach?” and "How to teach?"

The laws or rules that operate in any science reflect its objective, essential and stable connections, and also indicate certain trends in their development. However, these laws do not contain direct instructions for practical actions: they are only a theoretical basis for developing the technology of practical activity.

The task of didactics is to find out, on the basis of knowledge about the objective development of the educational process, how, on the basis of the laws of its development, the principles and rules of teaching are developed, which guide the teacher in his practical work. All this actualizes the research topic.

Object of study:art lessons and artistic work.

Subject of study:didactic principles and methods of teaching fine arts and artistic work.

Hypothesis: correctly and skillfully organized, methodically competent use of didactic principles and teaching methods in the lessons of artistic labor and fine arts contributes to the effectiveness of the educational process, namely:

• It helps to increase the activity, interest of students, which is reflected in the results of work.
• Promotes the development of love for the fine arts and artistic work.
• Develops such qualities as: perception, attention, imagination, thinking, memory, speech, self-control, etc.
• It contributes to the rapid and lasting assimilation of knowledge that develops into skills and abilities.
• Forms the ability to apply the acquired knowledge in practice.

Objective: study and substantiation of the influence of teaching methods on the educational process at the lessons of fine arts.

The following results from the goal tasks :

• Consider concepts - teaching methods.
• Consider the classification of teaching methods, their relationship.
• Identify the main teaching methods used in art lessons.
• To study the implementation features of the main methods used in these lessons.
• Justify the influence of teaching methods on the activity of schoolchildren and the effectiveness of the educational process.

1. Teaching methods in the lessons of fine arts

1.1 The concept of teaching methods and their classification

The concept of teaching method is very complex. However, despite the different definitions given to this concept by teachers, one can also note something in common that brings their points of view closer. Most authors tend to consider the teaching method as a way of organizing the educational and cognitive activity of students.

Teaching methods are understood as a consistent alternation of methods of interaction between a teacher and students, aimed at achieving a specific goal through the study of educational material.

"Method" (in Greek - “the path to something”) - a way to achieve a goal, a way to acquire knowledge.

The etymology of this word also affects its interpretation as a scientific category. " Method - in the most general sense - a way to achieve a goal, a certain way ordered activity, ”the philosophical dictionary says.

Obviously, in the learning process, the method also acts as an ordered way of interconnected activities of the teacher and students to achieve certain educational goals. From this point of view, each teaching method organically includes the teaching work of the teacher (presentation, explanation of new material) and the organization of active educational and cognitive activity of students. That is, the teacher, on the one hand, explains the material himself, and on the other hand, seeks to stimulate learning and cognitive activity students (encourages them to think, independently formulate conclusions, etc.).

Classification of teaching methods- this is their system ordered according to a certain attribute. Currently, dozens of classifications of teaching methods are known. However, the current didactic thought has matured to the understanding that one should not strive to establish a single and unchanging nomenclature of methods. Learning is an extremely mobile, dialectical process.

The system of methods must be dynamic in order to reflect this mobility, taking into account the changes that are constantly taking place in the practice of applying methods.

Learning is made up of activities such as solving problems and evaluating results, trial and error, experimentation, choice and application of concepts.

All teaching methods are divided into three large groups:

• methods of organization and implementation of educational and cognitive activities;
• methods of stimulation and motivation of educational and cognitive activity;
• methods of control and self-control over the effectiveness of educational and cognitive activity.

In the learning process, the method acts as an ordered way of the interconnected activities of the teacher and students to achieve certain educational goals, as a way of organizing the educational and cognitive activities of students.

Explanatory-illustrative and reproductive methods are traditional teaching methods, the main essence of which is the process of transferring ready-made known knowledge to students.

This classification is in good agreement with the main objectives of education and helps to better understand their functional purpose. If some clarifications are made to this classification, then the whole variety of teaching methods can be divided into five following groups:

a) methods of oral presentation of knowledge by the teacher and activation of the cognitive activity of students: story, explanation, lecture, conversation;

b) the method of illustration and demonstration in the oral presentation of the material being studied;

c) methods of consolidating the studied material: conversation, work with a textbook;

d) methods of independent work of students to comprehend and assimilate new material: work with a textbook, practical work;

e) methods academic work on the application of knowledge in practice and the development of skills and abilities: exercises, practical exercises;

f) methods for testing and evaluating students' knowledge, skills and abilities: daily observation of students' work, oral questioning (individual, frontal, compacted), assignment of a lesson score, tests, checking homework, programmed control.

Table 1. Teaching methods

	By type of student activity			Methods of stimulation and motivation of cognitive activity	Methods control and self-control
verbal Visual Practical	reproductive Explanatory and illustrative Partial search Methods of problematic statements Research	Transfer of ready-made knowledge Search decisions	Answers on questions Problem solving Lecture Story Conversation Demonstration experiments Excursions Decision, comparison independently and partially under the guidance of a teacher Statement of the problem and search for a solution Statement of the problem-instruction-independent study - results	Methods formation of cognitive interest educational games study discussions success situations

1.2 Basic methods of teaching fine arts and artistic work

Methods of teaching artistic work have specific features, due to the cognitive activity of younger students:

• the nature of technical processes and labor operations;
• development of polytechnical thinking, technical abilities;
• the formation of generalizing polytechnical knowledge and skills.

The lesson of artistic labor and fine arts is characterized by a classification of methods according to the methods of activity of the teacher and students, since two interconnected processes come out more clearly in teaching these subjects: the practical independent activity of students and the leading role of the teacher.

Accordingly, the methods are divided into 2 groups:

1. Methods of independent work of students under the guidance of a teacher.
2. Methods of teaching, learning.

Teaching methods that are determined by the source of knowledge gainedincludes 3 main types:

• verbal;
• visual;
• practical.

The formation of skills and abilities is associated with the practical activities of students. It follows from this that it is necessary to put the type of activity of students as the basis for the methods of forming skills.

By type of student activity(classification according to the type of cognitive activity by I.Ya. Lerner and M.N. Skatkin) methods are divided into:

• reproductive;
• partial search;
• problematic;
• research;
• explanatory and illustrative.

All of the above methods refer to the methods of organizing educational and cognitive activity (Yu.K. Babansky's classification).

Considering the method of stimulating educational activity in the lessons of artistic labor and fine arts, it is effective to use the method of forming cognitive interest. Also, do not forget to use the method of control and self-control.

Methods of organization and implementation of educational and cognitive activities- a group of teaching methods aimed at organizing the educational and cognitive activity of students, identified by Yu.K. Babansky and includes all existing teaching methods according to other classifications in the form of subgroups.

1. Verbal teaching methods

Verbal methods make it possible to convey a large amount of information in the shortest possible time, pose a problem to the trainees and indicate ways to solve them. With the help of the word, the teacher can evoke in the minds of children bright pictures past, present and future of humanity. The word activates the imagination, memory, feelings of students.

The verbal teaching methods include a story, a lecture, a conversation, etc. In the process of their application, the teacher sets out and explains the educational material through the word, and the students actively learn it through listening, memorization and comprehension.

Story. The storytelling method involves an oral narrative presentation of the content of the educational material. This method is applied at all stages of schooling. In fine arts lessons, it is used by the teacher mainly to communicate new information (interesting information from the life of famous artists), new requirements. The story must meet the following didactic requirements: be convincing, concise, emotional, accessible for understanding by primary school students.

Very little time is allotted for the teacher's story in the lessons of artistic labor and fine arts, and, therefore, its content should be limited to a short one, strictly correspond to the objectives of the lesson and the practical labor task. When using new terms in the story, the teacher must pronounce them expressively and write them down on the board.

Several story types:

• introduction story;
• story - presentation;
• story-conclusion.

The purpose of the first is to prepare students for the perception of new educational material, which can be carried out by other methods, such as conversation. This type of story is characterized by relative brevity, brightness, entertaining and emotional presentation, which makes it possible to arouse interest in a new topic, arouse the need for its active assimilation. During such a story, the tasks of the students' activities in the lesson are reported.

During the story-presentation, the teacher reveals the content new topic, carries out the presentation according to a certain logically developing plan, in a clear sequence, with the isolation of the main thing, with illustrations and convincing examples.

The story-conclusion is usually held at the end of the lesson. The teacher summarizes the main ideas in it, draws conclusions and generalizations, gives a task for further independent work on this topic.

During the application of the storytelling method, suchmethodological techniquesas: presentation of information, activation of attention, methods of accelerating memorization, logical methods of comparison, comparison, highlighting the main thing.

Conditions for effective usethe story is a careful thinking of the plan, the choice of the most rational sequence of disclosure of the topic, the successful selection of examples and illustrations, maintaining the emotional tone of the presentation.

Conversation. Conversation is a dialogic teaching method in which the teacher, by posing a carefully thought-out system of questions, leads students to understand new material or checks their assimilation of what they have already studied.

The conversation is one of the oldest methods of didactic work. It was masterfully used by Socrates, on whose behalf the concept of “Socratic conversation” originated.

In the lessons of artistic work and fine arts, the story often turns into a conversation. The conversation is aimed at obtaining new knowledge and consolidating it through an oral exchange of thoughts between the teacher and the student. The conversation encourages children's thinking and is more convincing when combined with a demonstration of natural objects, with their image.

Depending on the specific tasks, the content of the educational material, the level of creative cognitive activity of students, the place of conversation in the didactic process, various types of conversations.

Widespread in the teaching of fine arts and artistic work isheuristic conversation(from the word "Eureka" - find, open). In the course of a heuristic conversation, the teacher, relying on the students' knowledge and practical experience, leads them to understand and assimilate new knowledge, formulate rules and conclusions.

Used to communicate new knowledgeinforming conversations. If the conversation precedes the study of new material, it is called introductory or introductory . The purpose of such a conversation is to arouse in students a state of readiness for learning new things. The need for an ongoing conversation may arise in the course of practical work. Through question and answer, students receive additional information.Fixing or finalconversations are applied after learning new material. Their purpose is to discuss and evaluate student work.

During the conversation, questions can be addressed to one student(individual conversation) or students of the whole class (frontal conversation).

Requirements for interviews.

The success of the interviews largely depends on the correctness of the questions. Questions are asked by the teacher to the whole class so that all students prepare for the answer. Questions should be short, clear, meaningful, formulated in such a way as to awaken the student's thought. You should not put double, prompting questions or leading to guessing the answer. You should not formulate alternative questions that require unambiguous answers such as "yes" or "no".

In general, the conversation method has the following Benefits : activates students, develops their memory and speech, makes students' knowledge open, has great educational power, is a good diagnostic tool.

Disadvantages of the conversation method: takes a lot of time, requires a stock of knowledge.

Explanation. Explanation - a verbal interpretation of patterns, essential properties of the object under study, individual concepts, phenomena.

In the lessons of fine arts and artistic work, the explanation method can be used in the introductory part of the lesson to get acquainted with the execution of various seams, together with the demonstration of the product, when getting acquainted with various methods of working with a brush, etc.

In preparation for work, the teacher explains how to rationally organize the workplace; when planning, explains how to determine the sequence of operations.

In the process of explanation, the teacher acquaints students with the properties of materials and the purpose of tools, with rational labor actions, techniques and operations, new technical terms (at the lessons of artistic labor); with methods of working with a brush and the sequence of drawing, building objects (at drawing lessons).

Requirements for the method of explanation.The use of the explanation method requires an accurate and clear formulation of the problem, the essence of the problem, the question; consistent disclosure of cause-and-effect relationships, argumentation and evidence; use of comparison, comparison and analogy; attracting vivid examples; impeccable logic of presentation.

Discussion. Discussion as a teaching method is based on the exchange of views on a particular issue, and these views reflect the participants' own opinions, or are based on the opinions of others. This method is advisable to use when students have a significant degree of maturity and independent thinking, are able to argue, prove and substantiate their point of view. It also has great educational value: it teaches you to see and understand the problem more deeply, to defend your life position take into account the opinions of others.

This method is more suitable for use in high school. But if elementary school students have the above features (strong classes), then it makes sense to start introducing this method (for example, when getting acquainted with the work of artists, namely their works).

Briefing. This method is understood as an explanation of the methods of labor actions, their accurate display and safe performance (artistic labor).

Types of instruction:

• By time:

Introductory - is carried out at the beginning of the lesson, includes the formulation of a specific labor task, a description of the operations is given, an explanation of working methods is carried out.

Current - carried out during practical activities, includes an explanation of the mistakes made, finding out the reasons, shortcomings in the work, correcting mistakes, explaining the correct techniques, conducting self-control.

Final - includes an analysis of the work, a description of the mistakes made in the work, grading for the work of students.

• By coverage of students: individual, group, classroom.
• According to the form of presentation: oral, written, graphic, mixed.

2. Visual teaching methods

Visual teaching methods are understood as such methods in which the assimilation of educational material 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.

Visual teaching methods can be conditionally divided into 2 large groups:

• illustration method;
• demonstration method.

Demonstration (lat. demonstratio - showing) - a method expressed in showing the whole class in the lesson various visual aids.

The demonstration consists in a visual-sensual acquaintance of students with phenomena, processes, objects in their natural form. This method serves mainly to reveal the dynamics of the phenomena under study, but is also widely used to get acquainted with the appearance of an object, its internal structure or location in a series of homogeneous objects. When demonstrating natural objects, they usually start with appearance(size, shape, color, parts and their relationships), and then move on to the internal structure or individual properties that are specially highlighted and emphasized (the operation of the device, etc.). Demonstration works of art, clothing samples, etc. also begins with a holistic perception. The show is often accompanied by a schematic sketch of the considered objects. Demonstration of experiments is accompanied by drawing on the board or showing diagrams that facilitate understanding of the principles underlying the experience.

This method is truly effective only when students themselves study objects, processes and phenomena, perform the necessary measurements, establish dependencies, due to which an active cognitive process is carried out - things, phenomena are comprehended, and not other people's ideas about them.

The objects of the demonstration are: visual aids of a demonstration nature, pictures, tables, diagrams, maps, transparencies, films, models, layouts, diagrams, large natural objects and preparations, etc.;

Demonstration is used by the teacher mainly when studying new material, as well as when summarizing and repeating already studied material.

Conditions for the effectiveness of the application demonstrations are: carefully thought-out explanations; ensuring good visibility of the demonstrated objects to all students; wide involvement of the latter in the laborotu for the preparation and conduct of the demonstration.

Illustration as a method of teaching interaction is used by the teacher in order to create in the minds of students with the help of visual aids an accurate, clear and clear image of the phenomenon being studied.

Main function illustrationconsists in figuratively recreating the form, essence of the phenomenon, its structure, connections, interactions to confirm theoretical positions. It helps to bring all analyzers and the mental processes of sensation, perception, and representation associated with them into a state of activity, as a result of which a rich empirical basis arises for the generalizing and analytical mental activity of children and the teacher.

Illustrations are used in the process of teaching all subjects. As an illustration, natural and artificially created objects are used: models, models, dummies; works of fine art, fragments of films, literary, musical, scientific works; symbolic aids such as maps, diagrams, graphs, diagrams.

The educational result of the use of illustrations is manifested in ensuring the clarity of the initial perception of the subject being studied by students, on which all subsequent work and the quality of assimilation of the studied material depend.

Such a division of visual aids into illustrative or demonstration ones is conditional; it does not exclude the possibility of classifying individual visual aids as both illustrative and demonstrative (for example, showing illustrations through an epidiascope or overhead scope). The introduction of new technical means in the educational process (video recorders, computers) expands the possibilities of visual teaching methods.

At the lesson of artistic work, students perform the main part of the products according to graphic images. These include:

• artistic drawing- a real image of the object, used if the object itself cannot be shown due to its absence, small or large sizes; makes it possible to identify the material and color (used in the lessons of artistic work and fine arts);
• technical drawing- a graphic image, which is made arbitrarily, by hand, using drawing and measuring tools; all structural elements are transmitted with approximate preservation of dimensions and proportions (used in art classes);
• sketch - conditional reflection of an object, which is made without the use of drawing and measuring tools with an approximate preservation of dimensions and proportions (used in the lessons of artistic work and fine arts);
• drawing - a graphic representation of an object with the help of drawing and measuring objects on a certain scale, with accurate preservation of dimensions, using the methods of parallel proportions, contains data on the size and shape of the object (used in art classes);
• technical card- an image on which there can be a drawing of a product, tools, materials and fixtures can be indicated, but there is always a sequence of operations and work methods (used in art classes).

Requirements for using visual methods:the visualization used should be appropriate for the age of the students; visibility should be used in moderation and should be shown gradually and only at the appropriate moment in the lesson; observation should be organized in such a way that all students can clearly see the object being demonstrated; it is necessary to clearly highlight the main, essential when showing illustrations; think over in detail the explanations given during the demonstration of phenomena; the demonstrated visualization must be exactly consistent with the content of the material; involve the students themselves in finding the desired information in a visual aid or a demonstration device.

A feature of visual teaching methods is that they necessarily involve, to one degree or another, their combination with verbal methods. The close relationship between the word and visualization follows from the fact that "the dialectical path of cognition of objective reality involves the use of living contemplation, abstract thinking and practice in unity."

There are various forms of communication between words and visualization. And to give some of them full preference would be a mistake, since depending on the characteristics of the learning objectives, the content of the topic, the nature of the available visual aids, as well as the level of preparedness of students, it is necessary in each case to choose their most rational combination.

The use of visual teaching methods in technology lessons is narrowed to a minimal use of verbal teaching methods.

3. Practical teaching methods

Practical teaching methods are based on the practical activities of students. These methods form practical skills and abilities. Practical methods include exercises, practical work.

Exercises. Exercises are understood as repeated (multiple) performance of a mental or practical action in order to master it or improve its quality. Exercises are used in the study of all subjects and at various stages of the educational process. The nature and methodology of the exercises depends on the characteristics of the subject, the specific material, the issue under study and the age of the students.

Exercises subdivided according to their nature on the:

• oral;
• written;
• educational and labor;
• graphic.

When performing each of them, students perform mental and practical work.

According to the degree of independencestudents during the exercise allocate:

• exercises to reproduce the known in order to consolidate;
• reproducing exercises;
• exercises on the application of knowledge in new conditions - training exercises.

If, when performing actions, the student speaks to himself or aloud, comments on the upcoming operations, such exercises are called commented. Commenting on actions helps the teacher to discover typical mistakes to make adjustments in the actions of students.

Features of the use of exercises.

oral exercisescontribute to the development of logical thinking, memory, speech and attention of students. They are dynamic, do not require time-consuming record keeping.

Written exercisesare used to consolidate knowledge and develop skills in their application. Their use contributes to the development of logical thinking, the culture of writing, independence in work. Written exercises can be combined with oral and graphic.

To graphic exercisesinclude the work of students in drawing up diagrams, drawings, graphs, posters, stands, etc.

Graphic exercises are usually performed simultaneously with written ones.

Their use helps students to better perceive, comprehend and memorize educational material, contributes to the development of spatial imagination. Graphic works, depending on the degree of independence of students in their implementation, can be of a reproducing, training or creative nature.

Exercises are effective only if a number of rules are observed.

Requirements for the exercise method: conscious approach of students to their implementation; compliance with the didactic sequence in the performance of exercises - first, exercises for memorizing and memorizing educational material, then - for reproduction - for the application of previously learned - for independent transfer of what has been learned to non-standard situations - for creative application, which ensures the inclusion of new material in the system of already acquired knowledge , skills and abilities. Problem-search exercises are also extremely necessary, which form students' ability to guess, intuition.

At the lesson of artistic labor, students, along with polytechnic knowledge, master general labor polytechnic skills: to equip a place, design a product of labor, plan a labor process, and carry out technological operations.

When using practical methods, skills and abilities are formed.

Actions - are carried out by students at a slow pace with careful consideration of each element performed.

tricks - require further reflection and improvement in the process of special exercises.

Operations - combined techniques.

Skills - knowledge that is applied in practice is understood as the conscious performance of specified actions by students with the choice of the correct methods of work, but knowledge may not be brought to the level of skills.

Skills - actions that are brought to a certain extent to automatism and are performed in ordinary standard situations.

Skills are developed by reusable exercises of the same type without changing the type of activity. During work, the teacher focuses on the formation of labor skills in children. Skills are manifested by the actions of a person in an unfamiliar situation. For the formation of skills, various exercises are carried out that allow you to transfer the method of action to a new situation.

Primary school students in art classes form three main groups of skills:

• Polytechnic skills - measuring, computing, graphic, technological.
• General labor skills - organizational, design, diagnostic, operator.
• Special labor skills - processing different materials different ways.
• The formation of skills is always associated with practical activities.

Takova a brief description of teaching methods, classified by sources of knowledge. The main disadvantage of this classification is that it does not reflect the nature of the cognitive activity of students in learning, does not reflect the degree of their independence in educational work. Nevertheless, it is this classification that is most popular with practicing teachers, methodologists and is used in technology and fine arts lessons.

4. Reproductive learning methods

The reproductive nature of thinking involves the active perception and memorization of the information provided by the teacher or other source of educational information. The application of these methods is impossible without the use of verbal, visual and practical teaching methods and techniques, which are, as it were, the material basis of these methods. These methods are mainly based on the transfer of information using words, the demonstration of natural objects, drawings, paintings, graphic images.

To achieve a higher level of knowledge, the teacher organizes the activities of children to reproduce not only knowledge, but also methods of action.

IN this case great attention should be paid to instruction with a demonstration (in art classes) and an explanation of the sequence and methods of working with a show (in fine arts classes). While doing practical tasks reproductive, i.e. the reproductive activity of children is expressed in the form of exercises. The number of reproductions and exercises when using the reproductive method determines the complexity of the educational material. It is known that in lower grades children cannot do the same training exercises. Therefore, elements of novelty should be constantly introduced into the exercises.

In the reproductive construction of the story, the teacher formulates facts, evidence, definitions of concepts in a ready-made form, focuses on the main thing that needs to be learned especially firmly.

A reproductively organized conversation is conducted in such a way that the teacher relies on facts already known to the students, on previously acquired knowledge, and does not set the task of discussing any hypotheses or assumptions.

Practical works of a reproductive nature are distinguished by the fact that in the course of their work, students apply the previously acquired or newly acquired knowledge according to the model.

At the same time, in the course of practical work, students do not independently increase their knowledge. Reproductive exercises especially effectively contribute to the development of practical skills and abilities, since the transformation of skill into a skill requires repeated actions according to the model.

Reproductive methods are used especially effectively in cases where the content of the educational material is predominantly informative, is a description of the methods of practical actions, is very complex or fundamentally new so that students can carry out an independent search for knowledge.

In general, reproductive methods of teaching do not allow to develop the thinking of schoolchildren to the proper extent, and especially independence, flexibility of thinking; to develop students' skills in search activity. With excessive use, these methods contribute to the formalization of the process of mastering knowledge, and sometimes just cramming. It is impossible to successfully develop such personality traits as creative approach to business, independence by reproductive methods alone. All this does not allow them to actively use technology in the classroom, but requires the use of teaching methods along with them that ensure the active search activity of schoolchildren.

5. Problem-based learning methods.

The problem method of teaching provides for the formulation of certain problems that are solved as a result of the creative and mental activity of students. This method exposes students to the logic scientific knowledge; creating problem situations, the teacher encourages students to build hypotheses, reasoning; conducting experiments and observations, it makes it possible to refute or approve the assumptions put forward, to independently draw reasonable conclusions. In this case, the teacher uses explanations, conversations, demonstrations, observations and experiments. All this creates a problem situation for students, involves children in a scientific search, activates their thinking, forces them to predict and experiment. However, it is necessary to take into account age features children.

The presentation of educational material by the problem story method assumes that the teacher, in the course of the presentation, reflects, proves, generalizes, analyzes the facts and leads the students' thinking, making it more active and creative.

One of the methods of problem-based learning is heuristic and problem-search conversation. In the course of it, the teacher poses a series of consistent and interrelated questions to the students, answering which they must make any assumptions and then try to independently prove their validity, thereby making some independent progress in the assimilation of new knowledge. If during a heuristic conversation such assumptions usually concern only one of the main elements of a new topic, then during a problem-search conversation, students resolve a whole series of problem situations.

Visual aids with problematic teaching methods are no longer used only to enhance memorization, and to set experimental tasks that create problem situations in the classroom.

Problematic methods are used mainly for the purpose of developing skills in educational and cognitive creative activity, they contribute to a more meaningful and independent mastery of knowledge.

This method reveals to students the logic of scientific knowledge. Elements of the problem methodology can be introduced at the lessons of artistic work in the 3rd grade.

So, when modeling boats, the teacher demonstrates experiments that pose certain problems for students. A piece of foil is placed in a glass filled with water. Children watch the foil sink to the bottom.

Why does foil sink? Children put forward the assumption that foil is a heavy material, so it sinks. Then the teacher makes a box out of foil and carefully lowers it upside down into the glass. Children observe that in this case the same foil is kept on the surface of the water. Thus, a problematic situation arises. And the first assumption that heavy materials always sink is not confirmed. So, the point is not in the material itself (foil), but in something else. The teacher offers to carefully consider again a piece of foil and a foil box and establish how they differ. Students establish that these materials differ only in shape: a piece of foil has a flat shape, and a foil box has a three-dimensional hollow shape. What are empty objects filled with? (By air). And air has little weight.

He is light. What can be the conclusion? (Hollow objects, even from heavy materials, like metal, filled with (light (air, do not sink.) Why don’t large sea boats made of metal sink? (Because they are hollow) what will happen if a foil box is pierced with an awl? (She sink.) Why? (Because it will fill with water.) What will happen to the ship if its hull gets a hole and fills with water? (The ship will sink.)

Thus, the teacher, creating problem situations, encourages students to build hypotheses, conducting experiments and observations, enables students to refute or confirm the assumptions put forward, and independently draw reasonable conclusions. In this case, the teacher uses explanations, conversations, demonstrations of objects, observations and experiments.

All this creates problem situations for students, involves children in scientific research, activates their thinking, forces them to predict and experiment. Thus, the problematic presentation of educational material brings the educational process in a general education school closer to scientific research.

The use of problematic methods in the lessons of artistic labor and fine arts is most effective for intensifying activities to resolve problem situations, educational and cognitive activities of students.

6. Partial-search method of teaching

Partial search, or heuristic method got its name, because students can not always solve a complex problem and therefore part of the knowledge is communicated by the teacher, and part they get on their own.

Under the guidance of a teacher, students reason, solve emerging cognitive situations, analyze, compare. As a result, they develop conscious knowledge.

To develop independence and creative initiative, the teacher uses various techniques.

At the lessons of labor at the first stage, children perform tasks according to technological maps with detailed description operations and work practices. Then flow charts are made with partially missing data or stages. This forces children to independently solve some tasks that are feasible for them.

So, in the process of partial search activity, students first get an idea about the product, then plan the sequence of work and carry out technological operations to implement projects into a finished product.

In the lessons of fine arts, as an example of using the partial search method of teaching, you can plan the work in such a way that the first step is to get an idea about the subject itself, then draw up a sequence of drawing it (place the stages depicted on the board in the correct sequence, fill in the gaps in the stages of the sequence and etc.).

7. Research method of teaching

The research method should be considered as the highest level creative activity students, in the process of which they find solutions to new problems for them. The research method forms students' knowledge and skills that have a high degree of transfer and can be applied in new work situations.

The use of this method brings the learning process closer to scientific research, where students get acquainted not only with new scientific truths, but also with the methodology of scientific search.

Naturally, the content of the research method in science differs from the research method in teaching. In the first case, the researcher reveals to society new, previously unknown phenomena and processes; in the second, the student discovers phenomena and processes only for himself, which are not new for society. In other words, in the first case, discoveries are made socially, and in the second case, psychologically.

The teacher, putting before the students a problem for independent research, knows both the result and the ways of solving and activities that lead the student to the correct solution of the problem. Thus, the research method in the school does not aim to make new discoveries. It is introduced by the teacher in order to instill in students the character traits necessary for further creative activity.

Consider on specific example elements of the research method.

At the lesson of art work, the teacher sets the task for the children - to choose paper for making a boat, which should have the following signs: paint well, be dense, durable, thick. At the disposal of each student there are samples of writing, newsprint, drawing, household (consumer) paper and tracing paper, brushes, jars of water. In the process of simple research, from the available types of paper, the student chooses for the manufacture of the hull of a boat model such paper that has all of the listed features. Let's say that the first student starts checking the sign of coloring. Passing a brush with paint over samples of writing, newsprint, drawing, consumer paper and tracing paper, the student establishes that writing, drawing, consumer paper and tracing paper are thick papers, newsprint is loose. The student concludes that newsprint is not suitable for the hull of a boat. By tearing up existing paper samples, the student establishes that writing and consumer paper is fragile. This means that these species are not suitable for the manufacture of a boat hull.

Next, the student carefully examines the remaining types of paper - drawing paper and tracing paper - and establishes that drawing paper is thicker than tracing paper. Therefore, for the manufacture of the hull of the boat, it is necessary to use drawing paper. This paper has all the necessary features: it is well colored, dense, durable, thick. Checking the types of paper should begin with a sign of strength. After this check, only two types of paper would remain at the disposal of the student: tracing paper and drawing paper. Checking the sign of thickness made it possible for the student to immediately choose the drawing paper necessary for the boat from the remaining two types. When using the research method, as the considered example of choosing paper shows, the student is not given a ready-made solution to the problem. In the process of observations, trials, experiments, simple research, the student independently comes to generalizations and conclusions. The research method is actively developing Creative skills students, introduces students to the elements of scientific research.

The research method actively develops the creative abilities of students, introduces them to the elements of scientific research.

8. Explanatory and illustrative teaching method

Explanatory-illustrative, or informational-receptive methods include storytelling, explanation, work with textbooks, demonstration of pictures (verbal, visual, practical).

The teacher communicates the finished information by various means, and the students perceive it and fix it in memory.

However, when using this method, the skills and abilities to use the acquired knowledge are not formed. Knowledge is presented in finished form.

This method of teaching fine arts and artistic work will be effective if this method is not used in its only form. When combining this method with others, for example, partially search, research, reproductive, problematic, practical, students will work actively, they will develop thinking, attention, and memory.

9. Methods of independent work

Methods of independent work and work under the guidance of a teacher are distinguished on the basis of an assessment of the degree of independence of students in the performance of educational activities, as well as the degree of control of this activity by the teacher.

When a student performs his activities without direct guidance from the teacher, they say that the method of independent work is used in the educational process. When the methods are applied with the active control of the actions of students by the teacher, it is classified as methods of educational work under the guidance of a teacher.

Independent work is carried out both on the instructions of the teacher with mediocre management of it, and on own initiative student, without instructions and instructions from the teacher.

By using various types of independent work, students need to develop: some of the most general methods of its rational organization, the ability to rationally plan this work, clearly set a system of tasks for the upcoming work, single out the main ones among them, skillfully choose ways to solve the tasks set most quickly and economically, skillful and operational self-control over the performance of the task, the ability to quickly make adjustments to independent work, the ability to analyze the overall results of the work, compare these results with those planned at the beginning of it, identify the causes of deviations and outline ways to eliminate them in future work.

In the lessons of fine arts and art work, to increase the effectiveness of the learning process, as well as to achieve all the goals, these methods are used almost constantly in combination with other methods listed above. The choice of methods depends on the content of the educational material, the age and individual characteristics of the students, etc.

10. Methods for stimulating the educational activity of schoolchildren in the learning process. Methods of formation of cognitive interest

Interest in all its forms and at all stages of development is characterized by:

• positive emotions in relation to activity;
• the presence of the cognitive side of these emotions;
• the presence of a direct motive coming from the activity itself.

In the learning process, it is important to ensure the emergence of positive emotions in relation to learning activities, to its content, forms and methods of implementation. The emotional state is always associated with the experience of emotional excitement: response, sympathy, joy, anger, surprise. That is why the processes of attention, memorization, comprehension in this state are connected to the deep inner experiences of the individual, which make these processes proceed intensively and therefore more effective in terms of the goals achieved.

One of the methods included in the method of emotional stimulation of learning is the method of creating entertaining situations in the lesson - the introduction of entertaining examples, experiments, paradoxical facts into the educational process.

Entertaining analogies also act as a technique that is part of the methods of forming interests in learning, for example, when considering an airplane wing, analogies are drawn with the shape of the wings of a bird, dragonfly.

Emotional experiences are evoked by applying the technique of surprise.

The unusual nature of the facts presented, the paradoxical nature of the experience demonstrated in the lesson, the grandiosity of the figures - all this invariably causes deep emotional experiences in schoolchildren.

One of the methods of stimulation is the comparison of scientific and worldly interpretations of individual natural phenomena.

To create emotional situations during the lessons, the artistry, brightness, and emotionality of the teacher's speech are of great importance. This once again reveals the difference between the methods of organizing cognitive activity and the methods of stimulating it.

Educational games. The game has long been used as a means of arousing interest in learning.

In the educational and educational period of age, teaching and education should be the main interest of a person’s life, but for this the pupil must be surrounded by a favorable sphere. If, however, everything that surrounds the pupil pulls him away from the teaching in a completely opposite direction, then all the efforts of the mentor will be in vain to inspire him with respect for the teaching.

That is why education is so rarely successful in those rich, high-society homes, where the boy, escaping from a boring classroom, hastens to prepare for a children's ball or for a home performance, where much more vivid interests await him, which prematurely took possession of his young heart.

As we can see, the great Russian teacher Konstantin Dmitrievich Ushinsky, speaking about the fact that only small children can learn by playing, but, nevertheless, wants to interest older children in learning. But how to instill a love of learning if not a game.

Teachers have a hard time: after all, you cannot force a student to do something that is not interesting for him. And the child will not be able to repeat the same exercise dozens of times for the sake of a distant, not entirely clear goal. But play all day long - please! The game is a natural form of its existence. Therefore, it is necessary to teach in such a way that classes delight, captivate, and amuse the children.

The teaching of fine arts and artistic work is impossible without the use of various kinds of game situations in the lesson, with the help of which the teacher forms specific skills and abilities in schoolchildren. The clearly limited learning task of the task allows the teacher to accurately and objectively assess the quality of the students' assimilation of the material.

In order to maintain the productive working capacity of children throughout the lesson, various cognitive situations, games, activities should be introduced into their activities, since the assimilation of the subject is facilitated if different analyzers are involved.

The alternation during the lesson of all types of activities makes it possible to more rationally use the study time, increase the intensity of the work of schoolchildren, ensure continuous assimilation of new and consolidation of the material covered.

Didactic exercises and play moments included in the system of pedagogical situations arouse in children a special interest in learning about the world around them, which has a positive effect on their productive visual activity and attitude to classes.

It is advisable to use didactic exercises and game situations in those lessons where understanding the material is difficult. Studies have shown that during play situations, visual acuity in a child increases significantly.

Games, game moments, elements of fabulousness serve as a psychological stimulator of neuro-psychological activity, potential abilities of perception. L.S. Vygotsky remarked very subtly that “in play, a child is always above his usual behavior; he is in the game, as it were, head and shoulders above himself.

Games contribute to the understanding of the design features of the shape of objects, form the ability to compare, find optimal solutions, develop thinking, attention, and imagination.

For example:

1. Compose images of individual items from geometric shapes .

Using the geometric shapes depicted on the board, students draw objects in albums (as a variant of this exercise, individual tasks for each student).

2. Make compositions from ready-made silhouettes "Whose composition is better?".

From the finished silhouettes, make a still life. The game can be played as a competition between two (three) teams. Work is carried out on a magnetic board. The game develops compositional thinking, the ability to find optimal solutions.

The inclusion of gaming moments in the lessons allows you to adjust psychological condition students. Children perceive psychotherapeutic moments as a game, and the teacher has the opportunity to change the content and nature of tasks in a timely manner, depending on the situation.

Educational discussions.The methods of stimulating and motivating learning include creating a situation of cognitive dispute. The dispute causes increased interest in the topic. Some teachers skillfully use this method of activating the teaching. They, firstly, use the historical facts of the struggle of various scientific points perspective on a given issue. The inclusion of students in situations of scientific disputes not only deepens their knowledge on relevant issues, but also involuntarily attracts their attention to the topic, and on this basis causes a new surge of interest in learning.

Teachers also create educational discussions at the time of studying ordinary educational issues in any lesson. For this, students are specifically invited to express their opinions about the causes of a particular phenomenon, to substantiate one or another point of view.

Creating situations of success in learning.One of the effective methods of stimulating interest in learning is to create situations of success in the educational process for schoolchildren who experience certain difficulties in learning. It is known that without experiencing the joy of success it is impossible to truly count on further success in overcoming educational difficulties. Situations of success are also created by differentiating assistance to schoolchildren in learning tasks the same complexity. Situations of success are also organized by the teacher by encouraging intermediate actions of schoolchildren, that is, by specially encouraging him to make new efforts.

An important role in creating a situation of success is played by ensuring a favorable moral and psychological atmosphere in the course of performing certain educational tasks. A favorable microclimate during study reduces the feeling of insecurity, fear. The state of anxiety is replaced by a state of confidence.

Here's another thing that is important in order to lead students to good results in their studies.

If we want the student's work to be successful, so that he can deal with difficulties and in the future acquire more and more positive traits in work, then for this it is necessary to imagine what contributes to the success of work, and what causes failure. A huge role in success is played by that mood, that general cheerful state of mind among the students, that efficiency and calm, so to speak, liveliness, which form the pedagogical basis of any successful work of the school. Everything that creates a boring atmosphere - despondency, hopelessness - all this is a negative factor in the successful work of students. Secondly, great value has the teacher's teaching method itself: usually our classroom way of teaching, such as when students work with the same method and on the same topic, quite often leads to the fact that the class is stratified: a known number of students for whom the proposed from the outside the teacher's method is appropriate, succeeds, while the other part, which needs a slightly different approach, lags behind. Some students have a fast pace of work, while others are slow; some students grasp the appearance of forms of work, while others must thoroughly understand everything before they begin to work at all.

If students understand that all the efforts of the teacher are aimed at helping them, then cases of mutual assistance that are very valuable for working in the class may appear among them, cases of students turning to the teacher for help will be intensified, the teacher will advise more than give directives and put forward a demand and, in the end, the teacher himself will learn to really help both the whole class and each student individually.

When we observe the work of a student, when we approach him with our instructions, demands or advice, then we must know what a tremendous role arousing interest in the work of the student plays, and it is the accounting that should stimulate the work of the student, i.e. Accounting for the student's work should arouse his interest in the work.

To whom, if not to his senior comrade, the teacher, will the student turn for help? And we must help them understand many things - in various life situations, in themselves, in all sorts of conflicts. But becoming such a friend is not easy. In order to gain authority and respect from your students, you need to understand your children well, to see in them not only future masters to whom you pass on your experience, but, first of all, in everyone - a Person, a Personality. If you manage to win respect, authority among your pupils, this is a great happiness for the teacher.

The main sources of interest in educational activities include the creation of a situation of novelty, relevance, bringing the content closer to the most important discoveries in science, technology, to the achievements of modern culture, art, and literature. To this end, teachers select special techniques, facts, illustrations, which at the moment are of particular interest to the entire public of the country. In this case, students are much more clearly and deeply aware of the importance and significance of the issues being studied and therefore treat them with great interest, which allows them to be used to increase the activation of the cognitive process in technology lessons.

11. Methods of control and self-control in training

Methods of oral control.Oral control is carried out by individual and frontal questioning. In an individual survey, the teacher poses several questions to the student, answering which he shows the level of assimilation of educational material. With a frontal survey, the teacher selects a series of logically interconnected questions and puts them in front of the whole class, calling for a short answer from one or another student.

Methods of self-control.An essential feature of the current stage of improving control at school is the comprehensive development of students' skills of self-control over the degree of assimilation of educational material, the ability to independently find mistakes, inaccuracies, and outline ways to eliminate detected gaps, which is especially used in technology lessons.

Conclusions. All the main methods of teaching fine arts have been listed above. The effectiveness of their use will be achieved only with the integrated use of these methods.

The primary school teacher should give priority to methods that make the work active and interesting, introduce elements of play and entertainment, problematic and creativity.

The comparative possibilities of teaching methods allow adequate age, mental and physical strength, existing experience of educational work, educational fitness of students, formed educational skills and abilities, development of thought processes and types of thinking, etc. use them at different levels and stages of learning.

It is always important to remember and take into account the age-related characteristics of the psychological and mental development children.

2. Methods of teaching fine arts and artistic work using effective teaching methods for younger students

2.1 Effective methods used in the process of teaching younger students in fine arts and artistic work

The study of theoretical material on the issue of "Didactic principles and methods of teaching fine arts and artistic labor" allowed us to identify and test in the practice of the school those methods and principles that are more conducive to the effective teaching of younger students in the lessons of fine arts and artistic labor.

At the first stage, the methods and principles of teaching were classified for their application in the classroom after studying the program material. These methods and principles were:

Effective methods of teaching fine arts and artistic work

According to the source of knowledge gained:

1. Visual (illustration, demonstration).
2. Verbal (story, conversation, explanation).
3. Practical (exercises).

By type of activity of students (M.N. Skatkin):

1. Reproductive (answers to teacher's questions).
2. Explanatory and illustrative (story, conversation, demonstration experiments, excursions).
3. Partial search (independent performance of tasks with partial help of the teacher).
4. Problematic (statement of the problem and search for solutions).
5. Research (problem statement - briefing - independent study, observation - results).

Methods of stimulation and motivation of cognitive activity:

– methods of forming cognitive interest (cognitive games, educational discussions, creating a situation of success).

Principles of teaching fine arts and

artistic work

1. The principle of consciousness and activity.
2. The principle of visibility.
3. The principle of systematic and consistent.
4. The principle of the strength of the assimilation of knowledge.
5. The principle of science.
6. The principle of accessibility.
7. The principle of connection between theory and practice.
8. polytechnic principle.

2.2 Methodological recommendations for the use of effective teaching methods in the visual arts and artistic work

At the second stage, I attended the lessons of fine arts and artistic work, and also developed a series of lessons in these subjects using the above effective teaching methods and principles.

1. Visit and analysis of the lessons of fine arts and artistic work.The purpose of visiting the lessons was to identify the effectiveness of using correctly and skillfully organized teaching methods and principles.

In order to test how effective this use is, I attended several art and craft classes in 1st and 3rd grades. After analyzing these lessons and observing the results of the students' activities, we can draw the following conclusions:

Lesson number 1. (Attachment 1)

At the first lesson held in the 3rd grade on the topic "Firebird", the teacher skillfully organized the work of the children.

The lesson was held in the form of collective creative activity. Various teaching methods were used:

• verbal (a story about the Firebird, an explanation of the sequence of work, a conversation with children);
• visual (showing pictures, methods and techniques of work);
• practical;
• explanatory and illustrative;
• reproductive;
• partial search;

Also, methods of stimulating and motivating educational and cognitive activity were used (creating a situation of success at the beginning of the lesson).

Didactic principles are very correctly and skillfully implemented:

• the principle of scientific character (information about the Firebird);

• principle of systematic and consistent(distribution of material based on previously learned knowledge);
• the principle of consciousness and activity (activation of mental activity, creativity, collective and individual activity);
• visibility principle(development of perception, interest, observation);
• accessibility principle (compliance of the material with age characteristics, a differentiated approach);
• strength principle(training exercises).

The use of musical accompaniment in the practical part helped to maintain the emotional mood of the children.

The work of the students was organized, while explaining the task, methods and methods of work, the individual characteristics of the students were taken into account. Individual assistance was provided to weak children during the task.

Manifold visual aids contributed to the effectiveness of the lesson. During the conversation, the questions are formulated clearly, specifically, concisely.

All stages of the lesson are observed. All learning objectives have been achieved. The work of the students was active.

After analyzing the children's work, we can draw the following conclusion: out of 23 students in the class, all successfully completed the work.

There was a reflection at the end of the lesson. The children were asked to draw a sun on the blackboard if everything in the lesson was clear to them and everything worked out. A cloud and the sun - if they had some difficulties in the process of work. A cloud - if nothing worked.

All children drew the sun.

The results of the students' work are included in the diagram.

All this testifies to the excellent, skillfully organized work of the teacher, his ability to correctly select and use the methods and principles of teaching in the fine arts lesson.

Lesson number 2. (Annex 2)

The lesson was held in the 3rd grade (2nd quarter). The structure of the lesson is built correctly. All steps have been completed.

The lesson uses a variety of teaching methods:

• verbal (conversation, explanation);
• visual (showing drawing element by element);
• practical (training exercises);
• reproductive and explanatory-illustrative;
• method of independent work, control and self-control.

During the implementation of practical work, the teacher monitored the organization of workplaces, the correct implementation of drawing techniques, and provided assistance to many students who were experiencing difficulties. The teacher had to help the children draw birch, spruce, aspen throughout the entire practical part of the lesson ...

However, when summing up the results of the lesson, it turned out that not all children coped well with the task. Many of the drawings turned out bad.

This is due to the ill-conceived selection of the teaching method. When explaining the drawing sequence, only the explanatory and illustrative method was used, although the combined use of this method with the practical one would be much more effective. Children would practice drawing trees together with the teacher. Instead, they were distracted, talking among themselves. In this regard, the principle of consciousness and activity, the connection between theory and practice have not been fully implemented.

Various principles were used in the lesson:

• visibility;
• systematic and consistent;
• accessibility principle.

The principle of strength, which could be implemented in the process of training exercises, was practically absent.

To maintain interest in the subject among weak students, when summing up, it is necessary to pay more attention to the positive aspects of the work, and smooth out the failures of children (a method of stimulating and motivating cognitive activity).

Lesson number 3. (Annex 3)

The lesson was conducted methodically correctly. All stages of the lesson are observed. The readiness of children for the lesson was checked. In the process of work, through the use of entertaining material (riddles, puzzles), a method of forming cognitive interest was implemented.

Verbal (explanation, story, conversation, briefing), visual (demonstration method, drawing) and practical methods organization and implementation of educational and cognitive activities. The method of independent work, reproductive and explanatory and illustrative methods are also appropriately used and well organized. The joint practical activity of the teacher and students in explaining the sequence and methods of work was effectively reflected in the excellent results of work.

When analyzing the product, the questions were formulated clearly, accessible and correctly, which contributed to the implementation of the principle of accessibility. The answers of the children in the course of the conversation were supplemented and corrected. Sufficient attention was paid to the repetition of safety precautions when working with scissors.

When explaining the methods of work and when conducting vocabulary work, the age characteristics of the students were taken into account, which contributed to the implementation of the principle of accessibility, and, consequently, the principle of consciousness and activity. The principles of scientific character were also used (when explaining the concepts of "case", seam "over the edge"), visibility, systematicity and consistency, the strength of knowledge acquisition (repetition of safety precautions and the sequence of the task), the connection between theory and practice, as well as the polytechnical principle of teaching artistic labor (the process of converting the object of labor into a finished product, familiarity with the tools and the rules for their use, learn to use the objects of labor).

All students completed their work. Products are colorful and neat. Children used them for their intended purpose.

Objective assessments of the work are given.

During the reflection, it turned out that all the children were satisfied with their work, they were interested, they succeeded.

Conclusion

In this work, an analysis of methodological and psychological-pedagogical literature was carried out, classifications of methods were considered. Also, much attention was paid to the main methods used in the lessons of artistic work and fine arts.

In the practical part, the results of observations and analysis of lessons in these subjects were presented in order to study the influence of teaching methods on the educational process, and several lessons in these subjects were developed using the above teaching methods.

The study of the research topic "Methods of teaching fine arts and artistic work" made it possible to draw the following conclusions:

1. For training to be effective, training methods must be used as required.
2. Only the correct and skillfully organized use of teaching methods will help to increase the effectiveness of the educational process.
3. Teaching methods should be used in combination, because there are no “pure” methods or principles.
4. For the effectiveness of teaching, the use of a combination of certain teaching methods must be carefully thought out by the teacher.

Both from the theoretical part and from the practical one, it follows that the skillfully organized, methodically competent use of teaching methods in the lessons of artistic labor and fine arts helps to increase the effectiveness of the educational process.

METHODOLOGY OF TEACHING FINE ARTS

Short course of lectures

Kemerovo 2015

This publication is a teaching aid for preparing for the interdisciplinary state exam in the professional module "Pedagogical activity" and includes a short course of lectures on the history of methods of teaching fine arts, theory and methodology of organizing a modern lesson in fine arts

It is intended for students of the direction of training specialists in the specialties 54.02.05 "Painting: easel painting", 54.02.01 "Design in culture and art", 54.02.02 "DPI and folk crafts: art ceramics"

Compiled by: A.M. Osipov, artistic director,

teacher GOU SPO "KOHK",

E.O. Shcherbakova, methodologist of the State Educational Institution SPO "KOHK".

Deputy Director for R&D T.V. Semenets

Kemerovo regional art college, 2015

Topic 1. Goals and objectives of artistic and pedagogical education……………………...……....4

Topic 2. Methods of teaching fine arts as a subject of study……………6

Topic 3. Methods of teaching drawing in the Ancient World and the Middle Ages……………..…………..8

Topic 4. The value of the methodological provisions of the art of the Renaissance………………..……11

Topic 5. Models of art education of the New Age in Western Europe………….14

Topic 6. Formation of the national school of art pedagogy in the XVIII–XIX centuries….…18

Topic 7. Academic system of art education in Russia. ………………...……22

Topic 8. Methods of teaching drawing in the Soviet school………………………………………………25

Topic 9. Analysis of the program of B.M. Nemensky “Fine Arts

and artistic work”………………………………………..…………………………………………….28

Topic 10. Curricula and programs………………………………………….…………………………31

Topic 11

Topic 12. Lesson as the main form of organization of the educational process……………..……………….36

Topic 13. Methodical forms of completing the lesson. ………………...………………………………..39

Topic 14. The main methodological provisions for conducting visual activities with preschoolers 42

Topic 15

Topic 16

Topic 17

Topic 18

Topic 19. Lessons-conversations on the history of fine arts and the methodology for their conduct ...

Topic 20. The role of visual materials in the process of teaching fine arts 55

List of used literature……………………………………………………………………………….58

The teacher of fine arts must himself be proficient in fine arts, the basics of which he teaches, must be able to methodically correctly explain and clearly show the process of depicting an object, a particular technique, the rules for working with a pencil or brush. Practice shows that if the teacher himself is poorly versed in visual literacy, draws poorly, does not know how to connect the patterns of perspective, color science, composition with the practice of drawing, then his students do not have this knowledge and skills.

Regular teacher visit art exhibitions and workshops of artists, museums, communication with the artistic intelligentsia, regular reading of books and magazines on fine arts, creative work - a necessary condition for improving the scientific, theoretical, professional level of a teacher.

The method of teaching fine arts as a science theoretically generalizes practical experience, formulates the laws and rules of teaching, highlights the technology of the most effective methods, and offers them for implementation. The methodology is based on the scientific data of pedagogy, psychology, aesthetics and art history.

Of course, in the living process of teaching, each teacher develops his own methodology of work, however, it must be built in accordance with the general goals and objectives of modern teaching of fine arts, which were not developed immediately, before that the methodology went through a difficult path of development.

The methodology of teaching fine arts as a science summarizes practical experience, offers such teaching methods that have already justified themselves and give the best results.

The methodology of teaching fine arts is a living, developing science that absorbs all innovations. But in order for new technologies to be successfully implemented in practice, it is necessary to know the historical experience and directions for the development of teaching fine arts.

SECTION 2. PEDAGOGICAL PRINCIPLES IN DIFFERENT SCHOOLS

Epoch ancient Greece was the most brilliant era in the history of the development of fine arts ancient world. The value of Greek fine art is extremely great. Here was laid the method of scientific understanding of art. Greek artists-educators urged their students and followers to directly study nature, observe its beauty, and indicate what it is. In their opinion, beauty consisted in the correct proportional proportion of parts, the perfect example of which is the human figure. They said that the proportional pattern human body in its unity creates the harmony of beauty. Main principle Sophists said: "Man is the measure of all things." This position formed the basis of all the art of Ancient Greece.

Methods of teaching drawing in ancient Rome. The Romans were very fond of fine arts, especially the works of Greek artists. Portrait art is becoming widespread, but the Romans did not bring anything new to the methodology and teaching system, continuing to use the achievements of Greek artists. Moreover, they lost many valuable provisions of the drawing, failing to save them. The artists of Rome mostly copied the works of the artists of Greece. The setting of teaching was different than in Greek schools.

Roman society required a large number of artisans to decorate the premises, public buildings training periods were short. Therefore, the method of teaching drawing was unscientific, the drawing became conditional and schematic. When teaching drawing, copying from samples, mechanical repetition of work methods prevailed, which in turn forced the Roman artist-teachers to move more and more away from the teaching methods used by the artist-teachers of Greece. Many noble nobles and patricians themselves were engaged in drawing and painting (for example, Fabius Pictor, Pedius, Julius Caesar, Nero, etc.). In the drawing technique, the Romans first began to use sanguine as a drawing material.

Great role ancient culture in the development of realistic art, in the formation and development of the academic system of teaching drawing. It still inspires us today to search for more effective methods of teaching fine arts, to scientifically develop methods for teaching drawing.

Drawing in the Middle Ages. In the Middle Ages, the achievements of realistic art were consigned to oblivion. Artists did not know the principles of constructing an image on a plane, which were used in Ancient Greece. The basis of training is mechanical copying of samples, and not drawing from nature.

The painters of the first centuries of Christianity still used art forms antique painting. In a short time, the traditions of realistic art were forgotten and lost, the drawing became conditional and schematic. Manuscripts perished - the theoretical works of great artists, as well as many famous works that could serve as models. The study of nature and nature in the academic sense was not practiced, since realistic nature evoked an “earthly” feeling, which in this era was replaced by spiritual quests. Medieval artists worked not from nature, but according to samples that were stitched into notebooks, they were contour sketches of compositions of various church subjects, individual figures, drapery motifs, etc. They were guided by both wall paintings and works easel painting. Drawing was taught by a master who did not follow a strict system or clear teaching methods. Most of the students studied on their own, looking closely at the work of the master.

Preisler puts geometry at the basis of teaching drawing. Geometry helps the draftsman to see and understand the shape of an object, and when depicted on a plane, it facilitates the construction process. However, Preisler warns, the use of geometric figures must be combined with a knowledge of the rules and laws of perspective and plastic anatomy.

Preisler's manual was highly appreciated by his contemporaries, it was reprinted several times both abroad and in Russia. More detailed and clear methodological development there was no educational drawing at that time, so Preisler's work in Russia was used for a long time not only in general educational institutions, but also in special art schools.

Of course, today you can find flaws in Preisler's book, but for the sake of historical truth, it must be pointed out that for its time it was the best guide. The knowledge that the student received on the basis of studying Preisler's course helped him to draw from life in the future, as well as draw from memory and from imagination, which is so important for the artist.

In 1834 the first textbook by A.P. Sapozhnikov - a fateful edition for Russian art. A. P. Sapozhnikov’s drawing course begins with an acquaintance with various lines, then he introduces you to angles, after which he masters various geometric shapes. Before starting to draw three-dimensional objects, Sapozhnikov suggests demonstrating the law of perspective to students using special models, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an acquaintance with the laws of chiaroscuro, also with the help of showing models. When the drawing of simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks gradually increase in complexity up to drawing plaster heads. To show the construction of a human head, the author proposes to use a wire model specially made by him, which should always be near the plaster head, in a similar turn and position.

The value of Sapozhnikov's method lies in the fact that it is based on drawing from nature, and this is not just a copy of nature, but an analysis of the form. Sapozhnikov set as his goal to teach those who draw from life to think, analyze, reason.

The positive aspects of A.P. Sapozhnikov’s teaching methods have not lost their significance in our time, they are used by domestic methodologists. Concise and simple in a military way, the system formed the basis of the methods of the Soviet school and became the state one.

Studying the history of drawing techniques, you need to familiarize yourself with the work of G. A. Gippius . In 1844 he published the work "Essays on the Theory of Drawing as a General Subject". It was the first major work on the methodology of teaching drawing in a secondary school. All the advanced ideas of pedagogy of that time were concentrated here. The book is divided into two parts - theoretical and practical. The theoretical part outlines the main provisions of pedagogy and fine arts. In the practical part, the teaching methodology is revealed.

Gippius strives to scientifically and theoretically substantiate each position of the method of teaching drawing. In a new way, he considers the process of teaching itself. Teaching methods, says Gippius, should not follow a certain pattern; different teaching methods can achieve good results. To learn how to draw correctly, you need to learn to reason and think, says Gippius, and this is necessary for all people, and this must be developed from childhood. Gippius gives a lot of valuable methodological advice and recommendations in the second part of his book. Teaching methodology, according to Gippius, should be based not only on the data of practical work, but also on the data of science, and above all psychology. Gippius makes very high demands on the teacher. The teacher should not only know and be able to do a lot, but also speak to the students like an actor. The work of each student should be in the field of view of the teacher. Gippius closely connects the provision of class with equipment and materials with questions of methodology.

The work of G. A. Gippius was a significant contribution to the theory and practice of teaching drawing as a general educational subject, it greatly enriched the teaching methodology. We do not find such a serious and in-depth study of the issues of teaching methodology in that period in any, even the most prominent representative of pedagogical thought.

In 1804, school regulations introduced drawing into all district schools and gymnasiums. Due to the lack of teachers in 1825 in Moscow, on the initiative of Count S. G. Stroganov, the School of Technical Drawing was founded, where there was a department that trained drawing teachers for a general education school. In 1843, the Ministry of Public Education issued a circular proposal to replace teachers who did not have a special artistic education in drawing, drafting and penmanship in district schools students of the Stroganov school. Until 1879, this school was the only educational institution that specially trained drawing teachers.

Since the second half of the 19th century, not only outstanding artists-teachers, but also ordinary school teachers began to pay special attention to teaching methods. They understood that without special methodological training it is impossible to successfully conduct pedagogical work.

In 1864, drawing was excluded from the number of compulsory subjects by the charter of secondary educational institutions. In 1872, drawing was again included in the range of subjects in real and city schools. In the same year, 1872, "Free Sunday Drawing Classes for the People" were established. Teaching in these classes was conducted at first under the supervision of Professor of Painting V.P. Vereshchagin and Academician of Architecture A.M. Gornostaev. In order to develop methods for teaching drawing in general education schools, a special commission was created at the Academy of Arts. This commission included outstanding artists: N.N. Ge, I.N. Kramskoy, P.P. Chistyakov. The commission was also involved in drawing up a program for secondary schools.

Peculiarities art school drawing by P. P. Chistyakov. Russian artist and professor of the Academy of Arts P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the teaching methods of drawing, painting, and composition.

Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance to the drawing in his system, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. .

The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).

He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work.

The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.

Analyzing pedagogical activity P. P. Chistyakov, it is possible to identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components:

· goals and objectives of teaching as the starting point of the pedagogical system;

scientifically substantiated content of educational material;

The use of various types and forms of conducting classes, thanks to which the activities of students in mastering artistic literacy in drawing were organized;

various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing;

· the constant self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on the trainees.

Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, aimed at communication with wards, dialogue and respect for the individual. “A real, developed, good teacher does not blow the student’s stick, in case of an error, failure, etc., he tries to carefully explain the essence of the matter and deftly lead the student onto the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. Chistyakov's methods, his ability to guess the special language of each talent, his careful attitude to any talent gave amazing results. His teaching system brought up the artist in the true sense of the word. The variety of creative personalities of the master's students speaks for itself - they are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.

The pedagogical views of P. P. Chistyakov were already recognized in Soviet time. Its pedagogical system, revolutionary in nature, has no analogies in the theory and practice of other national art schools.

Like teaching drawing, Chistyakov divides the science of painting into several stages.

First step- this is the mastery of the figurative nature of color, the development of young artist, the ability to be accurate in determining the color shade and in finding its correct spatial position. Second phase should teach the student to understand the movement of color in form as the main means of conveying nature, the third- to teach to solve those silt other plot-plastic tasks with the help of color. Chistyakov was a true innovator who turned pedagogy into high creativity.

Topic 7. Academic system of art education in Russia

· Imperial Academy of Arts in Russia XVIII - in the first half of the XIX century. and Educational School.

A.P. Losenko, A.E. Egorov, V.K. Shebuev.

Since 1758, the "Academy of the Three Most Noble Arts" has become the scientific and methodological center of art education, and throughout its history, the St. Petersburg Academy has been the main Russian center of art education. The largest Russian architects, sculptors, painters, engravers underwent a strict, exacting training at the Academy.

From the very beginning, the Academy of Arts was not only an educational and educational institution, but also a center of art education, as it regularly organized exhibitions. Under her, museums and a scientific library were founded. In order to develop a good artistic taste in students and arouse interest in the arts, the founder and first chief director I.I. Shuvalov decided to surround the pupils with brilliant works. He donates to the academy his collection of paintings and drawings, as well as his personal library. After Shuvalov, the academy maintained this tradition for many years, and it brought great success to the cause, instilling in the students a sense of deep respect for art and for the academy. The Academy provided students with all the necessary materials for work: paper of all grades, paints, pencils, canvas, stretchers, brushes and varnishes.

The main subject at the academy was drawing. For the best educational drawings, the Council of the Academy gave awards to the authors - small and large silver medals. On the initiative of the sculptor Gillet, in 1760, a full-scale class was organized at the academy, where serious attention was paid to the study of the anatomical structure of the human body. Here, the skeleton and the “ragged figure”, as the anatomical model was then called, are carefully studied.

Drawing classes were structured as follows: “Classes were divided into morning, from 9 to 11, and evening, from 5 to 7 hours. During the morning classes, everyone was engaged in their specialty, and in the evening everyone, no matter what class they were, drew with a French pencil . After a month, the drawings were exhibited in the classrooms for the consideration of professors; it was like an exam. In addition, figures were exhibited every week, plaster heads, in relation to which it was required that the contours from them be made the most faithful, although the shading was not completed. For monthly examinations, or examinations, these weekly works could not be presented by students, since the professor examined them during the week, but some works, exclusively prepared for the monthly examination, were already exhibited by the appointed date without fail.

The students of the academy were divided into groups according to age:

1st group - from 6 to 9 years old,

2nd - from 9 to 12,

3rd - from 12 to 15 years old,

4th - from 15 to 18 years.

1st group: In the first group, in addition to general education disciplines, drawing from originals, plasters and from nature was practiced. Drawing began with an acquaintance with technique and technology. The pencil had to be held further away from the peeled end, which gave more freedom and mobility to the hand. Engravings from drawings served as samples in the original classes. outstanding masters, drawings of teachers of the academy, as well as drawings of particularly distinguished students. Grez's drawings were especially popular with teachers and pupils. The expressiveness of the lines in his drawings helped students to visually see and understand the plasticity of forms.

2nd group: The second group drew from originals, plasters and from nature. By the end of the year, the students began to copy from the originals drawings of heads, parts of the human body and naked human figures (academies), first plaster, and then living. Ornaments and plaster heads were drawn from nature.

3rd group: The third group studied perspective, drawing from originals, plasters and from life, painting, sculpture, architecture, engraving art. Plaster figures of Antinous, Apollo, Germanicus, Hercules, Hercules, Venus Medicea were painted from nature. Here the student painted from plaster casts until he had the necessary professional skills. After that, he could move on to drawing live nature in a natural class.

To thoroughly memorize the figure, the student had to draw the same setting several times. To thoroughly memorize the figure, the student had to draw the same setting several times. It is known that K. P. Bryullov made forty drawings from the Laocoon group. The skill was so great that some academics could start drawing from anywhere.

When teaching drawing, great importance was attached to personal demonstration. The instructions of that time indicated that the teachers of the academy should draw the same nature as the students - so the pupils would see how the process of constructing a drawing should proceed and what quality should be achieved.

In one of the archival documents we read: “To prescribe to professors and teachers of adjuncts that all adjuncts be at their appointed hours for drawing nature, also to watch how Fontebasse works.” We read the same in the instructions of A.I. Musin-Pushkin: artists, of which one is to set nature and correct student work, and the other at the same time draw or sculpt with them himself.

Unfortunately, this progressive method of training future artists later fell into disuse in pedagogical practice. If in modern educational institutions a student is obliged to complete the course program during the year, regardless of success, then in the academy of the 18th century, as well as in the first half of the 19th century, the pupil could move from one class to another, for example, from plaster figure to full-scale, only having achieved certain success. .

4th group: Pupils of the fourth group drew naked living nature and studied anatomy. Then came the class of mannequin and composition, as well as copying paintings in the Hermitage.

A great contribution to the methodology of teaching drawing was made by artists and teachers of the Academy of Arts A. P. Losenko and V. K. Shebuev.

A.P. Losenko began teaching at the academy in 1769. An excellent draftsman and a wonderful teacher, who paid much attention not only to practice, but also to the theory of drawing. His bright pedagogical activity very soon won universal recognition. Starting with Losenko, the Russian academic school of drawing received its own special direction.

Losenko made it his task to give a scientific and theoretical substantiation of each provision of academic drawing, and above all in drawing the human figure. For this purpose, he began to thoroughly study plastic anatomy, look for rules and laws of proportional division of a figure into parts, draw diagrams and tables for visual demonstration to his students. Since that time, the method of teaching drawing has been based on a serious study of anatomy, the proportions of the human figure, and perspective. All this scientific knowledge necessary for an artist, Losenko, with great persuasiveness and bright pedagogical talent, was able to transfer to his students. Understanding the complexity and difficulty of combining two different cases - independent creative work and teaching, Losenko spared neither time nor effort for the cause he served. Noting this feature of Losenko as an artist and teacher, A. N. Andreev wrote: “He spent whole days and nights with them (students), taught them in word and deed, he himself drew academic studies for them and anatomical drawings, published for the leadership of the academy the anatomy and proportion of the human body, which have been used and are still used by the entire school that followed him; started full-scale classes, he himself wrote on the same bench with his students and his works even more helped to improve the taste of the students of the academy.

Losenko's merit lies not only in the fact that he did a good job of teaching drawing at the Academy of Arts, but also in the fact that he took care of its further development. In this, his theoretical works and teaching aids should have played their role.

By the beginning of the 19th century, drawing as a general educational subject began to become widespread. Much was done during this period in the field of publishing various manuals, manuals and tutorials on drawing.

Main activities

The image on the plane and in volume (from nature, from memory and from representation); decorative and constructive work;

application;

· volume-spatial modeling;

design and constructive activity;

artistic photography and video filming; perception of the phenomena of reality and works of art;

discussion of the work of comrades, the results of collective creativity and individual work in the classroom;

study of artistic heritage;

listening to music and literature

Educational and methodological support - methodological kits for the program, including textbooks, workbooks for schoolchildren and teaching aids for teachers. All publications are edited by B.M. Nemensky.

Stage I - elementary school.

Grade 1 - foundation - familiarity with the ways of working, various artistic materials, the development of vigilance and mastery of the material. "You depict, decorate and build."

Grade 2 - "You and Art" - introducing children to the world of art, emotionally connected with the world of personal observations, experiences, thoughts. Formation of ideas about the content and role of art

Grade 3 - "Art around you" - introducing children to the world of surrounding beauty.

Grade 4 - "Every nation is an artist" - the formation of an idea of ​​\u200b\u200bthe diversity and fascination of art. creativity in all corners

land and every nation.

II stage - high school. Fundamentals of artistic thinking and knowledge. An in-depth study of various types and genres of art in the context of historical development, interdisciplinary connections with history lessons are strengthened.

Grade 5 - Connections of the decorative arts group with life. Feeling in harmony with the material

Grade 6 - 7 - Connections of the visual arts group with life. Mastering the artistic and figurative patterns of art and their systematization. Creativity of artists.

Grade 8 - "Connections of the constructive group of arts with life." Architecture is a synthesis of all art forms.

Grade 9 - a generalization of the passed. "Synthesis of Spatial and Temporal Arts".

III stage. Fundamentals of artistic consciousness. Division of practical and theoretical work into parallel courses.

10-11 classes - Historical connections of arts.

SECTION 3. ORGANIZATION AND PLANNING

Performing foreskets.

Foreskets are compositional sketches of a future drawing that precede work on the main sheet. To do this, you can use the viewfinder - a piece of cardboard or paper, in which a small rectangular hole is cut. The student, looking through the viewfinder, should, as it were, see the frame of the future picture. The size of the frame is set depending on the size of the main sheet of paper. Having made several compositional sketches with the help of the viewfinder, the student chooses the one that best satisfies the task and starts working on the main sheet.

3. Stages of work on the format.

First step begins with the compositional placement of the image on a sheet of paper. Then the main proportions are established and the general view of nature is outlined. The plastic characteristic of the main masses is determined. So that the details do not distract the beginner's attention from the main character of the form, it is proposed to squint the eyes so that the form looks like a silhouette, like a common spot, and the details disappear. The image begins with light strokes. It is necessary to avoid premature loading of the sheet with unnecessary spots and lines. The form is drawn very generally and schematically. The main character of the large form is revealed. If this is a whole group of objects (still life), then the student must be able to equate (inscribe) them to a single figure, that is, to generalize.

Second phase- constructive identification of the shape of objects using lines. The different thickness of the contrasting line reveals the airiness of the perspective, the construction. Objects should look transparent, glassy.

Third stage- plastic modeling of the form in tone and detailed study of the drawing.

The elaboration of details also requires a certain pattern - each detail must be drawn in connection with others. When drawing a detail, you need to see the whole.

The stages of working out the details of the active analysis of forms, the identification of the materiality of nature and the relationship of objects in space is a crucial stage. Using the laws of perspective (both linear and aerial), it is necessary to build images based on an accurate analysis of the relationships between all elements of the form. At this stage of work, a detailed characterization of nature takes place: the texture of the model is revealed, the materiality of objects (gypsum, fabric) is transferred, the drawing is carefully worked out in tonal relations. When all the details are drawn and the drawing is carefully modeled in tone, the generalization process begins.

Fourth stage- summarizing. This is the last and most important stage of work on the drawing. At this stage, the student sums up the work done: checks the general condition of the drawing, subordinates the details to the whole, refines the drawing in tone (subordinates light and shadows, highlights, reflections and halftones to the general tone). At the final stage of work, it is advisable to return to fresh

initial perception.

Consistent painting work

Getting down to painting, you need, first of all, to peer into nature, determining the main tonal and color relationships.

preliminary sketch

search for a composition (color, coloristic organization) -

search for a solution to the shape, proportions, structural structure

search for large tonal-color relationships (warm and cold, saturated and weakly saturated, light and dark colors)

final determination of the format and size of the future study

You must complete at least three sketches that are different from one another, select the best option, based on which the work will be performed. The sketch must be preserved until the end of the work on the main study.

2. Preparatory drawing for painting

Transferring the sketch composition to the main canvas. Drawing for painting should be precise and definite, but it should not be detailed

Working on the details

The transition from general color relationships to sculpting the form with color. The registration of the form must be carried out evenly over the entire picture plane.

Generalization

The stage of simultaneous generalization and emphasizing of the characteristic moments for the overall color unity

The result of each of the two half-years should be at least one finished composition in color or graphic, maybe a series of color or graphic sheets. The technique of execution and the format of work is discussed with the teacher.

Independent works on composition are reviewed by the teacher weekly. Independent (extracurricular) work can be used to perform homework children, visiting cultural institutions (exhibitions, galleries, museums, etc.), participation of children in creative events, competitions and cultural and educational activities educational institution. The assessment marks all stages of work: collection of material, sketch, cardboard, final work. It is necessary to enable the student to penetrate deeper into the subject of the image, creating conditions for the manifestation of his creative individuality.

Lesson types.

The most common and used in practice classification was introduced by B.P. Esipov and identified the following types of lessons:

1 type: Learning new material.

Lesson type.

The development of a creative person, her artistic abilities is directly related to the purpose and objectives of teaching the subject of art.

Its main PURPOSE is to familiarize with spiritual culture as a way of transferring universal human values ​​from generation to generation, with the perception and reproduction of which, in their activities, creative and moral self-development of a person takes place, preserving the integrity of his personality. inner peace. So, joining the spiritual culture, a person simultaneously joins his natural essence, developing his basic - universal - abilities: To holistic, imaginative thinking; To empathy with the outside world; To creative activity.

The realization of this goal is carried out by the aesthetic education of a person by means of art and artistic pedagogy. They are based on art education and artistic activity. Only in their totality can we imagine the realization of the goals of aesthetic education. These are two different ways of developing human consciousness, not replacing, but complementing each other.

The criteria for evaluating the creative development of a person in the field of aesthetic education are revealed in accordance with the tasks of forming a harmoniously developed person. Three interrelated directions in it: A) the preservation of the moral integrity of the individual; B) the development of its creative potential; C) ensuring the harmonious correlation of social and unique features in it.

All this is naturally realized in artistic activity person.

The child in his cognitive and creative activity assimilates, first of all, its meaning, associated with an emotional and evaluative attitude to life. Art is a means of accumulating, concentrating that life experience of mankind, which is connected with the tasks of developing the moral and creative potential of people. Therefore, one of the main goals of art is to develop, based on the universal forces of man, his moral ideal, creative attitudes, aesthetic emotions, and feelings.

The art program at the school provides for 4 main types of work - drawing from nature, thematic drawing, decorative drawing, conversations about art, which are closely related and complement each other in solving the tasks set by the program.

The tasks of art classes include: To develop visual perception of students. Develop the ability to observe, establish similarities and differences, classify objects according to shape and texture. Cultivate aesthetic and artistic ability, Learn to draw from nature, on themes, perform illustrations and decorative drawings, develop graphic and pictorial skills. Develop mental and abstract thinking.

The leading type of drawing is fig. from nature a cat. leads to the general development of a person - develops imagination, mental, spatial and abstract thinking, eye, memory.

School course of art. art aims to:

1. Prepare well-rounded, educated members of society,

2. Aesthetically educate children, develop their artistic taste.

3. Help children learn the world, razv. observation, to accustom to think logically, to realize what has been seen.

4. Teach how to use the drawing in labor and social activities

5. To give students knowledge of the basics of realistic drawing. To instill skills and abilities in fine arts, to acquaint with the basic technical methods of work.

6. To develop the creative and aesthetic abilities of students, to develop spatial thinking, figurative representation and imagination.

7. To acquaint schoolchildren with outstanding works of Russian and world fine art. To instill interest and love for art. activities.

The subject of teaching methods of fine arts is closely related to special and psychological and pedagogical disciplines. The methodology as a subject of study considers the features of the teacher's work with students. The methodology is understood as a set of rational methods of training and education. This is a special department of pedagogy, which studies the rules and laws of building the educational process. The methodology can be general, it considers teaching methods inherent in all subjects and private - methods and techniques used in teaching any one subject.

The methodology of teaching fine arts as a science theoretically generalizes practical experience, offers such teaching methods that have already justified themselves and give the best results. The purpose of the course is to form the foundations and professional and pedagogical consciousness of a teacher of fine arts. The objective of the course is knowledge of the history, theory, methods of scientific research in the field of teaching fine arts, the acquisition of intellectual and practical skills to solve the problems of teaching fine arts, creating the foundations for the subsequent formation of a creative approach to the activities of a teacher of fine arts, the formation of a sustainable interest in the profession of a teacher of fine arts. The method of teaching is understood as the way the teacher works with students, in which the best assimilation of educational material is achieved and academic performance increases.

The teaching method consists of separate teaching methods: - according to the source of knowledge acquisition (visual, practical, verbal, gaming) - according to the method of obtaining knowledge (reproductive, information-receptive, research, heuristic) - according to the nature of the activity (method of organization and implementation of educational and cognitive activities, the method of control and self-control, the method of stimulating and motivating learning) - by type of occupation

· Teaching methodology as a system of unified activity of the teacher and students in mastering a certain part of the program.

· Concepts of methods and techniques, didactic principles, means and forms of education.

Methodology- a set of effective methods of training and education. This is a special department of pedagogy, which studies the rules and laws of building the educational process. In this sense, the methodology can be general, considering the methods and techniques of teaching inherent in all subjects, and private, meaning the methods of teaching applicable to any one academic subject.

The methodology can be general, it considers teaching methods inherent in all subjects and private - methods and techniques used in teaching any one subject.

The method of teaching the subject includes:

Teaching method- the way the teacher works with students, with the help of which the best assimilation of educational material is achieved. The term "method" comes from the Greek word "methodos", which means a way, a way to move towards the truth, towards the expected result. The choice of teaching methods depends on the learning objectives, as well as on the age of the students.

Reception training- this is a separate moment, a teaching method is formed from several techniques. From a set of techniques and teaching methods, united by a common direction, a training system is formed.

Learning objectives- a pre-planned result of pedagogical activity, achieved with the help of various techniques, methods and teaching aids.

Educational goals - the formation of a common culture of the personality of students on the basis of mastering the mandatory minimum of the content of educational programs;

Developmental goals - development of abilities (logical thinking, memory, observation, the ability to correctly summarize data and draw conclusions, compare, the ability to draw up a plan and use it, etc.)

Educational goals - fostering a sense of humanism, collectivism, respect for elders, mutual assistance, responsiveness, politeness, a negative attitude towards bad habits, the value of physical health, etc.

The practical purpose of training is related to its direction, to what skill is formed as a result of the learning process.

Learning principles- didactic principles:

· The principle of consciousness and activity - conscious, meaningful, purposeful learning (from the point of view of the student).

The principle of visibility is the use by the teacher of the visual channel of perception, which allows short time present a maximum of new material and significantly increases the efficiency of assimilation of new information and contributes to the intensity of learning.

The principle of systematicity and consistency gives a systematic character to the learning process

The principle of strength. The purpose of this principle is a strong and long-term assimilation of the acquired knowledge.

· The principle of accessibility implies the development of the content of the learning process, taking into account the capabilities of the trainees.

· The principle of scientific character is the careful selection of information that constitutes the content of training. Students should be offered for assimilation only firmly established, scientifically substantiated knowledge.

· The principle of connection between theory and practice, since practice is the main material for knowledge.

Means of education- a set of material, technical, informational and organizational resources used to provide a variety of teaching methods.

Forms of study- this is a way of interaction of participants in training, a way of its existence. There are usually three groups of forms of education:

Frontal (collective),

group,

Individual.

The method of teaching fine arts as a science theoretically generalizes practical experience, formulates the laws and rules of teaching, highlights the technology of the most effective methods, and offers them for implementation. The methodology is based on the scientific data of pedagogy, psychology, aesthetics and art history.

Of course, in the living process of teaching, each teacher develops his own methodology of work, however, it must be built in accordance with the general goals and objectives of modern teaching of fine arts, which were not developed immediately, before that the methodology went through a difficult path of development.

The methodology of teaching fine arts as a science summarizes practical experience, offers such teaching methods that have already justified themselves and give the best results.

The methodology of teaching fine arts is a living, developing science that absorbs all innovations. But in order for new technologies to be successfully implemented in practice, it is necessary to know the historical experience and directions for the development of teaching fine arts.