Development of a painting lesson. Topic: "Drawing a still life from life"

Painting lesson on the topic: "Drawing a still life from life" 4th grade

Type of activity: image on a plane.

Lesson type: combined.

Goal: to teach how to correctly constructively draw objects of simple shape from life.

Tasks:
Consolidate knowledge about layout and proportions.
Contribute to the development of aesthetic responsiveness.
Develop drawing skills, attention, accuracy, observation, thinking, visual memory.

Visual aids: educational table “Step-by-step execution of a still life”, reproductions of paintings (still lifes) by artists P. Klas, V. Head, J..B. Chardin.

Equipment for the teacher: epiprojector; 2 draperies, vase (jug), apple.

Equipment for students: album (A4 format), pencil, eraser.

References:
Sekacheva A.V., Chuikina A.M., Pimenova L.G. Drawing and painting: a textbook for secondary students. specialist. textbook establishments. – M.: Light and food industry, 1983.
Sergeev A. Educational still life. – M.: Art, 1955.
History of foreign art. Ed. Kuzmina M. T., Maltseva N. L. – M.: Illustrate. art, 1983.

Lesson plan:
1. Organizational moment – ​​1 min.
2. Conversation – 3 min.
3. Explanation – 8 min.
4. Independent work of students – 28 min.
5. Analysis of work, evaluation – 4 min.
6. Cleaning the workplace – 1 min.

Using the chalkboard:

1. Topic title.
2. Reproductions of paintings by artists.
3. Pedagogical drawing.
4. Educational table “Step-by-step execution of a still life from life.”

During the classes:

1. Organizational point:
establish discipline, check readiness for the lesson.

2. Conversation.
The topic of the lesson is “Drawing a still life from life”, stage 1 – construction.
What is still life?
Still life is a genre of fine art. From the French “dead nature”, an image of the world of things, everyday objects, tools, fruits, flowers. The still life genre became especially widespread in Dutch painting of the 17th century (Pieter Claes, Willem Kalf, Willem Heda).
Look out for reproductions of paintings by Willem Heed and 18th century French artist Jean Baptiste Chardin. What is the difference between their still lifes?
A favorite motif in the work of the Dutch was the so-called breakfast - an image of a set table on which a dish with a pie or ham, bread or a golden loaf, a metal jug, a glass goblet, plates, and knives are placed. In turn, Jean Baptiste Chardin is known as a master of paintings on everyday themes: the world of domestic, human-lived things; baskets, krinks, vats, and killed game appeared on his canvases.

3. Explanation.

Let's look carefully at the still life. What items does it consist of?
Jug, apple, 2 draperies.
What should you do before you start painting a still life?
First you need to determine how to position the sheet: horizontally or vertically.
How do we arrange the sheet in our case?
Having measured the width and height using the sighting method, we understand that the sheet must be positioned vertically (the height of the still life is greater than the width). Let's draw a line of intersection of the planes.
What is composition?
Composition is the arrangement of the depicted object on the surface of the paper.
Let's determine the placement of the still life on the sheet. Items should not be small, but not very large either. You cannot draw larger than life size.

When constructing a still life, pay attention to the table “Step-by-step execution of a still life.”
Construction of a jug.
Let's construct an axis of symmetry.
What is proportion?
Proportion is a certain relationship between the parts of an object, their proportionality. It is necessary to constantly compare proportional relationships and visualize.
What is the ratio of the height of the jug to its width?
The height of the jug is 1.5 times the width. We make serifs.
The jug is divided into a neck and a body.
Which shape does the neck resemble, and which does the body?
The neck is shaped like a rectangle, the body is like a circle.
To find the line separating the neck and body, you need to find out how many times the height of the neck fits into the height of the entire jug?
The height of the neck fits the height of the entire jug 4 times.
At what height is the widest part of the jug?
2.5 times the height of the jug.
Now we find the width of the neck and base. Let's build the base of the jug. The base is a circle, but according to the laws of perspective, from this position an ellipse is obtained.
How to build an ellipse? (Call anyone to come to the board).
To construct an ellipse, draw axes and make notches on them. Connect with a smooth line.
Using the same principle, we build ellipses on the neck of the widest part of the jug.
Will the ellipses be the same in every part of the jug or do they change?
Ellipses change: the higher the ellipse, the narrower it is; the lower, the wider it is.
Now you can draw the outline of the jug. Invisible lines should be paler and thinner, while visible lines should be darker and clearer.
The jug is ready.

Drawing an apple.
What shape does an apple resemble?
The apple resembles a circle.
How many times does an apple fit into the height of the jug?
The apple is placed in the jug 3 times.
The apple is a little closer to us than the jug. Let's first draw a circle, then transform it into an apple.

Let's outline the draperies. Construction lines can be erased.
The still life is built.

4. Independent work of students:
Individual and collective work with students.

5. Analysis of work, evaluation:
Collective analysis of work.
Homework: bring brushes, watercolors, album.

Still life drawing, still life drawing lessons, step-by-step still life drawing, still life drawing with watercolors, gouache.

Drawing step by step: still life drawing lessons.

We make a pencil sketch of a still life on paper.

After transferring the pencil sketch onto the paper, use a medium round brush to paint the background with a thin layer of a mixture of Cobalt Violet and Speckle. Tilt the paper slightly so that long strokes from left to right blend into each other. Then apply thin strokes of the same tone in the holes of the lace pattern. After the paint has dried, outline the shadows of the folds of the lace napkin with a mixture of diluted cobalt blue and burnt umber.

To obtain the main color of the tulips, apply paint with a gradual transition of tones - starting with cadmium yellow medium and gradually adding more and more speckle, and finally make strokes of pure speckle along the edges. (As you do this, rotate and tilt the paper to blend the strokes). Then apply a thin, even layer of green FC to the leaves. After this, apply masking liquid to the illuminated areas of the jug and cup. When the composition has dried, tilt the paper slightly again and tint the left side of the cup and jug with a thin layer of pure cobalt. Then continue the wash on the jug with a gradual transition of tones, adding a very light (almost transparent) kraplak.

Proceed to the background with a thin glaze coat of diluted Cobalt Violet. Wash the shadows on the cup and saucer with cobal blue mixed with burnt umber. After the Cadmium Yellow medium paint has dried, run along the rim of the cup and, while the paint is still wet, add a little natural sienna to the darker areas. Then apply a glaze layer to the tulip leaves with a mixture of blue FC, cadmium yellow medium and natural sienna. Apply viridon green to the shaded stems, then use a damp brush to remove some of this paint and transfer it to the lighter areas of the stems.

At this stage, apply darker tones: a glaze layer of cobalt violet mixed with burnt umber, on the background and on the shadow areas of the jug, cup and saucer. Next, enhance the shadows on the pitcher using a lighter mixture of cobalt violet and a touch of burnt umber. After this, apply a very thin glaze layer of Cobalt Blue over the highlights on the jug. Darken some of the tulip petals with cadmium yellow medium, and apply kraplak to the other part.

At this point, apply a final glaze layer to the background using a dark mixture of cobalt violet and burnt umber, so that the center of the composition really comes to the fore. When everything is dry, enhance the shadows in the foreground and background with glaze.

The great thing about painting still lifes is that you can completely change their composition at your discretion. You can choose the items you would like to include in the composition, change the lighting, choose a place for each item in such a way as to create the most advantageous composition. When arranging objects, remember that with a correctly composed composition, the viewer’s gaze is directed to its semantic center - the focus of the image.

The depiction of everyday objects is widespread in the fine arts. In many historical paintings and portraits, everyday objects are important details that emphasize and sometimes reveal a specific historical era or historical event. They help to understand the plot being depicted. Everyday objects acquire particular importance in paintings of the everyday genre and in still lifes.

Drawing everyday objects is especially valuable because it provides ample opportunities for studying the characteristic shape, structure, spatial position, color of surrounding objects, and the distribution of light and shade on their surface. That is why learning to draw usually begins with the depiction of various everyday objects, and in a certain sequence: from the simplest form to a more complex (combined) one.

Drawing a still life with drapery is more complex than depicting individual objects. And the point here is not only in the number of subjects, but also in the combination of educational tasks that have to be solved.

The complication of tasks in still life drawing is also associated with the introduction of drapery - an important connecting element of the production. Drapery not only serves as a background, but also makes it possible to expressively show each of the objects separately and their harmonious unity in space.

This requires knowledge of the principles of linear-constructive representation of a form, the theory of linear and aerial perspectives, and mastery of drawing techniques.

04/18/2013 academic year

Open painting lesson

in 1st grade

teacher Ershova I.M.

Lesson topic : “Step-by-step construction of a still life”

“Still life with a simple object and vegetables in cold colors”

Goals: consolidate knowledge about the genre of fine art “still life”;

Develop figurative imagination, compositional thinking.

Tasks:

Educational: correctly arrange the image on the sheet; place objects

on a plane, build them taking into account proportions and perspective cuts.

Educational: development of attention, visual memory, eye, feeling

proportions, color perception, artistic taste.

Educators: nurturing love for the world around us,

purposefulness, perseverance, accuracy, ability to see

feel the beauty.

Lesson type: combined

Teaching methods:explanatory and illustrative, reproductive

Equipment and materials:

for the teacher: household items (jugs, cups, bowls, etc.), chalk, blackboard

Cool;

for students: A3 paper, graphite pencils of different hardnesses, eraser,

Brushes, watercolors, palette, water container;

Visual range:

student work from the natural fund;

artists' reproductions:

K. Korovin “Still life. Flowers and fruits."

V. Van Gogh “Sunflowers”

I. Mashkov “Fruit on a saucer”

K. Petrov-Vodkin “Still life with apples”

P. Konchalovsky “Tray and vegetables”

Z. Serebryakova “Basket with zucchini”

Progress of the lesson:

1 lesson

I Organizational part.

Checking readiness for the lesson 3 min.

II Main part.

Subject message. 2 minutes.

Introductory talk 5 minutes.

The teacher offers to guess the riddle, the children answer in unison.

If you see in the picture

Miracle vase on the table,

It contains a bouquet of beautiful

Snow-white chrysanthemums

Costs a lot of dishes

Both glass and simple

Maybe a cup or saucer

With gilded border.

And yet, and it happens,

Game is drawn there.

In conclusion we put

Ripe peaches and plums

And also in the picture maybe

Drawn to be a cake

And that’s why the picture is called - still life.

The word “still life” means “dead nature”, “inanimate nature”. It came to us from the French language.

Translated from Dutch, German and English, the name of this genre means “quiet life”, “still life”.

Still life emerged as an independent genre in the 17th century. in Holland.

Artists who worked in this genre were called “little Dutchmen.” Their distinctive feature is the amazing materiality of objects in still lifes and the careful rendering of details.

A still life usually does not require the same canvas sizes as a historical painting or an epic landscape. This is a more “modest” genre. But at the same time, one should not perceive a still life in fine art as an image of a random set of objects. Most often, the artist “poses” nature, that is, based on the conceived idea, he consciously selects suitable objects. In addition, the artist’s plan presupposes certain combinations of shapes and colors of objects, lighting, and location in space. The composition of a still life is initially born in the author’s head, although many things can push the artist to a figurative and plastic idea: life observations, memories, a book read, poetry, music.

Sometimes it is more difficult to stage a still life than to paint it. The artist introduces his own order into the arrangement of objects. One when nothing can be removed, added or rearranged without violating the unity of the composition.

The teacher reminds you of the rules of construction, compositional solutions, and the step-by-step implementation of painting techniques for drawing a simple still life of 2-3 fruits and vegetables, completed in the previous lesson. Next he offers to get acquainted with a still life of a more complex composition. In a dialogue with the children, the teacher discusses the artistic features of reproductions of still lifes by famous artists posted on the board.

Problematic questions (knowledge test): 10 min.

• What types of still life do you know?
• Find the distinctive features of the presented still lifes and comment.
• What colors (warm or cool) predominate in still lifes and why?
• What unites the objects of a still life?
• How do artists convey the volume of vegetables and fruits on the flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and darker ones on the other? (children's answers)
• What role does sunlight play in a still life?Sunlight, illuminating objects, makes them light on one side (light) and dark on the other (shadow). Light and shadow help convey the three-dimensional image of objects, their reality.
• Which still life reproductions did you like best and why?

The teacher explains different compositional schemes for constructing still lifes. To consolidate knowledge, the teacher asks children to read the presented diagrams and answer the following questions:

1 What do vertical and horizontal lines in the image of objects (axial lines) indicate?

2 Determine which objects in still lifes are located closer and which are further away? Explain why?

3 What is composition? (This is the combination of parts of an educational drawing, a work of art for the most vivid expression of their content. This is the correct arrangement of objects on a sheet of paper).

Objects should be harmoniously combined with each other, touching, forming a single whole, but not blocking each other(reasonable contrast of large and small, white and dark, wide and narrow, shiny and matte, objects of spherical and flat shape enhance expressiveness, eliminate monotony, enliven the atmosphere);

This pattern of constructing a still life is called its composition.

Any composition must have a compositional center. Typically, this compositional center is the largest object depicted in the picture. It is better to place it in the background and be sure to highlight it with color(in the entire group there must be a main object, which in its semantic meaning, top, shape, color would be the main, central one.)

Game warm-up. 10 min.

Students are divided into 2-3 groups of 3-4 people. They are asked to compose a composition of the proposed still life from geometric shapes and paste it onto a sheet of paper. The teacher attaches the finished compositions to the board for analysis of work and recommendations for eliminating errors.

III Independent work. 13-15 min.

Using short segments of strokes, students use a pencil on a piece of paper to outline the general location of the still life, taking into account the previous recommendations, the contours of all objects, observing the proportions and arrangement of objects in the still life, mark the boundaries of highlights, shadows, all objects and the environment.

IV Lesson summary: 2 min.

Answers on questions:

What genre of painting did we work in today?

Progress of the lesson:

Lesson 2

I Organizational part.

Checking readiness for the lesson 2 minutes.

II Main part.

Introductory talk 5 minutes.

The teacher suggests viewing several educational works in different performance techniques. Pay special attention to works done in watercolor technique.

What techniques were used to carry out the work?

How does gouache technique differ from watercolor?

III Independent work. 25 min.

Students clarify the details in a pencil drawing. Moving on to working with watercolors. Wet a sheet of paper with water so that the paint does not roll off in further work. During the work, the teacher helps students who are experiencing difficulties in work.

IV Lesson summary: 13 min

View the drawings and analyze their merits.

Select the drawings that express the greatest similarity to nature;

Evaluation of drawings;

Cleaning workplaces.

Methodological development of the lesson

on the subject of painting

in preparatory class

2nd year of study

on the topic “Still life. Drawing

still life from life"

Completed by: Kukushkina E.N.

Teacher

Municipal Educational Institution of Children's Art School Nei

Kostroma region

year 2013

Lesson topic: "Still life. Drawing a still life from life.

Target

Create a simple still life from life

Tasks :

Developmental: develop techniques for working with paints, the sequence of working on a still life.

Equipment:

For the teacher - a full-scale setting (still life against the background of a white sheet), a table “Still life (step-by-step work)”, sketches from life of vegetables and fruits (children’s work)

Visual range:

Lesson Plan

1. Organizing time
2. Introductory conversation
3. Students working on the assignment
4. Lesson summary

During the classes:

1. Organizing time

Checking students' readiness for the lesson. Positive attitude of children to the lesson.

1. Introductory conversation.

Remember the genres of fine art. Next, one of the genres of art is considered - still life. (Illustrations are shown)

If you see in the picture

Miracle vase on the table,

It contains a bouquet of beautiful

Snow-white chrysanthemums;

There are a lot of dishes,

Both glass and simple,

Maybe a cup or saucer

With gilded border.

And this also happens:

Game is drawn there.

In conclusion we put

Ripe peaches and plums.

And also in the picture maybe

Drawn to be a cake.

And so the picture

It will be called a still life.

Still life - (translated from French - dead nature) - an image of inanimate objects. This word refers to a complex and diverse genre of fine art, as well as individual works that artistically reproduce household utensils, musical instruments, flowers, fruits, vegetables, dead game and other inanimate objects. Still life arose in connection with the development of realism in painting and, as the technical and cognitive capabilities of artists expanded, it was defined as an independent genre in the 17th century.

Still life serves various functions. For example:

Decorative - captures the colorfulness, grace and splendor of natural forms, somewhat exaggerating and transforming them, decorates the interior;

Thematic - depicts objects united by one theme (children's - includes toys, sports - attributes of sports, etc.

Still life speaks about the lives of people of different times; Even by drawing inanimate objects, you can express a lot, say something about people’s lives.

What can you tell by looking at this still life? (demonstration of reproduction) of a still life

Puzzles:

Six porcelain friends

They stood in a circle on the tablecloth,

Wanted to in the evening

Treat us to some tea. (Cups)

My uniform shines brightly,

On the table I am the commander.

They know cups, a teapot;

I'm a big boss. (Samovar)

Two sisters: one big,

Semolina interferes with porridge.

Well, little sister

The tea is stirred loudly. (Spoon)

Just like a fist,

Red barrel,

You touch it – it’s smooth,

And if you take a bite, it’s sweet! (Apple)

Golden head

Big, heavy.

Golden head

She lay down to rest.

The head lay down

Only the neck is thin. (Pumpkin)

The golden sieve of black houses is full. (Sunflower)

In the summer in the garden, fresh, green,

And in winter they are yellow and salty in the barrel.

Guess it, well done

What's our name? (Cucumbers)

There are balls hanging on a branch,

Turned blue from the heat. (Plum)

Let's look at the illustrations, reproductions and answer the questions:

What is still life?

Which still life reproductions do you like best and why? Name the authors of the paintings.

What colors (warm or cool) predominate in them? Why?

What unites all the objects of one still life? (Topic, affiliation)

Why do paints differ in lightness when depicting fruits: some are lighter, others are darker?

How do artists convey the volume of vegetables and fruits on the flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and darker ones on the other? What role does sunlight play here? (sunlight, illuminating objects, makes them light on one side (this is light), and dark on the other (shadow). Light and shadow help convey the three-dimensional image of objects, their reality.)

Reflection

To reinforce the material, I suggest the game “Make a Still Life”. From the proposed objects in front of you, I propose to make still lifes and give them names. (Both strong and weak children participate)

Physical education minute

There was a basket on the shelf, idle (sit down, round your arms - imitate a basket)

She was probably bored all summer (head tilts, left and right)

Now autumn has come and the foliage has turned yellow, (stand up and draw tree branches)

The time has come to harvest. (stretch, pretend to pick fruit from trees)

The basket is happy (round your arms in front of you, nod your head)

She was surprised (spread her hands)

That there are so many fruits in the garden! (rise on your toes, show a large circle with your hands)

1. Students working on the assignment

Still life from life.

Today we have a still life of vegetables and fruits. This theme is “tasty” and it’s very pleasant to draw. Every fruit and vegetable has a basic shape, color that needs to be seen. They may be the same for different fruits and vegetables, but they have their own color and details.

Subsequenceperforming the work:

1. On preparatoryAt this stage, use a pencil to outline the contours of all objects using very light lines. It is advisable to draw without correction with an eraser, in any case, do not abuse it, because... The texture of the paper destroyed by the eraser darkens and dulls the color. Using the same thin lines we mark the boundaries of highlights and shadows of all still life objects and environments.

1. At the first stage Let's start working with paint with the general color characteristics of the still life; for this we will prepare a low-saturated mixture - a color scheme, which we will apply in a transparent layer to all parts of the drawing, excluding highlights.
2. At the second stage of painting, the three-dimensional shape of all objects is modeled and their illumination is conveyed. Using separate strokes we enhance the color saturation of the illuminated sides. The color of the shadows is solid and is influenced by the environment. They are laid with transparent, but darker paints. Each stroke applied to depict shadows must be taken in relation to the color of the adjacent surfaces of other objects and other shadows in terms of hue, saturation and lightness.

1. At the third stage We continue to model volumetric form and space with more subtle shades of color. We compare every stroke placed on paper with a still life, alternately moving our eyes first to the image, then to nature. This allows you to see whether the color proportion that exists in nature is conveyed. The depiction of color shades in light, penumbra, shadow gradually leads to a subtle modeling of shape, to the depiction of space and illumination.

1. At the last stage We generalize all the colors, if necessary, highlight some parts with a more saturated color, and extinguish the overly bright ones that break out from the general color scheme. The drawing is complete.

IV. Lesson summary

View and analyze completed work. Note the beautifully found combinations of colors in conveying the character of natural objects.

Analysis of common errors.

Cleaning workplaces.

References:

• B. M. Nemensky “Fine arts and artistic work” grades 1-4 Moscow “Enlightenment” 2008
• E. Rozhkova “Fine arts in elementary school” Moscow “Enlightenment” 1980

Self-analysis of the lesson

in preparatory class (2nd year of study)

"Still life. Drawing from life a still life of two

items"

Goal and tasks:

Educational: to introduce students to the variety of forms of depicting the world of things in the history of art, to expand knowledge about the genre of still life, about the features of still life in painting, graphics, sculpture, and to teach how to depict various objects.

Developmental: develop techniques for working with paints.

Educational: to cultivate aesthetic sensitivity.

Equipment:

For the teacher - a full-scale setting (still life of two objects), a table “Still life (step-by-step work)”, sketches from life of vegetables and fruits (children’s work)

For students - watercolor, gouache, paper, brushes, graphic materials

Visual range:

I. Mashkov “Fruit on a Saucer”, A. Lentulov “Still Life”, V. Van Gogh “Sunflowers”, K. Korovin “Still Life. Flowers and fruits."

In accordance with the program, this topic is included in the section drawing from life. On the topic “Still life. Drawing a still life of vegetables and fruits from life" takes 2 hours.

The main purpose of this lesson is to give students knowledge about still life; teach how to depict objects in a still life using both graphic and pictorial means. The lesson consists of an organizational moment, presentation of new theoretical material, consolidation of the studied material, and independent work of children.

I prepared for the lesson in a timely manner, prepared all the visual material that will be needed during the lesson. The content, thematic focus and technology were fully consistent with the level of development of the class.

I used my study time rationally. The lesson began with an organizational moment, which began with the students’ working spirit for the lesson.

The presentation of new material - the main part of this type of lesson - is carried out using the method of explanation, story with elements of demonstration of reproductions. At this stage of the lesson, I explained to the students the concept of “still life” and introduced them to the types of still lifes. To increase the effectiveness of the educational process and to ensure that children of this age do not lose interest in the lesson, I used riddles in the conversation.

I consolidated the new material in the form of the game “Make a Still Life”. Both strong and weaker children took part in this work. At this stage, the students’ knowledge that was acquired during the presentation of theoretical material was very clearly visible.

Before independent work, in order to preserve the health of the children, I conducted a physical education session.

At the independent work stage of the lesson, I explained to the children the sequence of working on a still life.

During independent work, the teacher provided individual assistance to students based on individual abilities. For better consistency in completing independent work, the educational table “Sequence of performing a still life in color” was used.

At the end of the lesson, I held an exhibition of students’ work, where the work was analyzed: what worked and what didn’t? I was clearly able to see how the students understood this topic. Student assessment.

The chosen forms of work are not accidental; they are exciting for children of this age and are of interest to them. I believe that the students’ perception of the goal was fully realized.

Type of educational institution: Tavria school-gymnasium No. 20 Age of children and their number: 6th grade (1213 years old), 29 people Time: 45 minutes Topic: Still life as a genre of fine art Purpose: To expand students’ knowledge about the genre of still life, about the features of its compositional solution . Draw a still life from life.

Objectives: educational: to master the concept of still life; teach how to compose still lifes; teach drawing from life, depicting objects in color, conveying the structural structure of objects and their proportions. developing: develop creative potential; broaden students' horizons; activate children's observation skills; develop their eye; creative thinking. educational: to cultivate aesthetic taste, attentiveness, observation.

Lesson type: learning new knowledge Equipment for the teacher: Graphic series: reproductions of paintings, drawings - examples of the compositional arrangement of objects in a still life, diagram of the sequence of drawing a still life. Musical series: P. I. Tchaikovsky - Seasons. Autumn. Equipment for students: paper (A 4 format), pencil, eraser, watercolor paints, brush, palette, water jar, cloth Computer technology: video “How to draw a still life step by step,” slide presentation with artists’ works

Key words: still life – translated from French as “dead nature”, i.e. an image of inanimate objects. sketch - A preliminary sketch of a drawing, painting or part of it. composition is a system of rules and techniques for arranging parts of a picture into a single whole, the ability to accurately place an image on a sheet of paper. the compositional center is what is main in the composition and must be emphasized. contrast is a sharp difference between objects in certain properties (size, shape, color, light and shade, etc.), a sharply expressed opposition: long - short, thick - thin, large - small.

Course of the lesson I. Organizational moment 1. Greeting. Teacher: Hello, guys! I would like to start today’s lesson with wonderful lines calling for perseverance, hard work, joy of life, and creativity. Let them become your motto: If you can’t, find out, If you don’t know, find out, Don’t be afraid of the steep path, Try, search, accomplish, achieve, So that your life becomes a song. L. Tatyanicheva

II. Updating knowledge. Method - conversation Conducted in a playful way, questions are placed in a box, and students take them out and answer. Teacher: Guys, do you remember what we talked about in the previous lesson? ? Now I will play a game - a test of knowledge. - What basic means of expression do you know in fine art? (graphics, painting, composition). - What types of drawing do you know? (sketch, sketch, sketch, sketch). - What is composition? (a system of rules and techniques for arranging parts of a picture into a single whole, the ability to accurately place an image on a sheet). - What main means of composition do you know? (compositional center, contrast, rhythm, color, background or environment or space). - What is a compositional center? (the main thing in the image is highlighted by color, size, lighting, but may not always be in the center of the picture - it depends on the location of the subject and point of view). - What genres of painting do you know? (portrait, landscape, still life, animalistic, everyday, historical, fairy tale, battle).

III. Motivational and goal setting for the lesson. The method is practical. I formulate the task using the “still life” technique. Teacher: - Look at these reproductions of paintings. Artists simply depict ordinary everyday things, flowers, vegetables, fruits. - What genre of painting can these paintings be classified into? (still life). - Try to give a title to each picture.

M. A. Vrubel "Rose"

Teacher: Listen to the poem - a riddle. If you see in the picture a Cup of coffee on the table, Or a fruit drink in a large decanter, Or a rose in crystal, Or a bronze vase, Or a pear, or a cake, Or all the objects at once, Know that it is... (still life). Today in the lesson you will get acquainted with one of the most beautiful genres of fine art - still life, and learn about the features of its compositional solution. You have to draw a still life from life.

IV. Formation of new knowledge. 1. From the history of still life. Teacher: “Still life” - from the French “dead nature” - a genre of fine art, an image of various household items, things, food (vegetables, fruits, bread, etc.), flowers and other things. In Dutch and German, the essence of still life is expressed as the quiet life of things, full of its own internal events, a life that we so rarely notice. This genre arose about 400 years ago in Holland and Spain. The artist’s task in the field of still life is not only to convey things in themselves, but also to express the attitude of a person of a given era towards them, and through them to the world around them. That is why the Dutch still life of the 17th century was a reflection of Dutch life (Peter Claes and Willem Claes Heda “Ham and Silverware”, “Breakfast with Ham”).

Willem Claes Heda "Ham and silverware."

A still life can also simply please the eye with the play of colors and provide mental relaxation. Henri Matisse’s still life “Red Fishes” hangs in the Museum of Fine Arts in Moscow. Red fish swim in the aquarium and that's it. But this composition awakens a feeling of joy in us.

In Russian art, still life appeared in the 18th century, and its heyday was the end of the 19th and beginning of the 20th century. These are, first of all, the works of Grabar and Korovin. Grabar Igor Emmanuilovich

Bright still lifes were created by artists Mashkov and Kuprin and others. You see one of Mashkov’s still lifes “Moscow food. Breads". The years of war, famine, and devastation are left behind. It can be seen that buns, rolls, bagels, and cakes bring joy to people. It seems that Mashkov saw not only the finished products, but also heard the puffing of the swelling dough and the bursting of the crust of bread in the oven.

V. Consolidation of the studied material. The form is collective; The method is practical. - What can you say looking at this still life? How does it make you feel? (the appetizing quality of the products depends on the roughness of the bread molds, on the tints of color from brown, rusty red, yellow to delicate ash, blue-gray and pink).

2. Sequence and rules of working on a still life. Stages of drawing (explanation by the teacher) Teacher: 1. At the preparatory stage, use a pencil to outline the contours of all objects with very light lines. It is advisable to draw without correction with an eraser; in any case, do not abuse it, since the texture of the paper destroyed by the eraser darkens and dulls the color. Using the same thin lines we mark the boundaries of highlights and shadows of all still life objects and environments.

2. At the first stage of working with paint, we will start with the general color characteristics of the still life; for this we will prepare a low-saturated mixture - a color scheme, which we will apply in a transparent layer to all parts of the drawing, excluding highlights.

3. At the second stage of painting, the three-dimensional shape of all objects is modeled and their illumination is transmitted. Using separate strokes we enhance the color saturation of the illuminated sides. The color of the shadows is solid and is influenced by the environment. They are laid with transparent, but darker paints. Each stroke applied to depict shadows must be taken in relation to the color of the adjacent surfaces of other objects and other shadows in terms of color tone, saturation and lightness.

4. At the third stage of work, we continue modeling the volumetric form and space with more subtle shades of color. We compare every stroke placed on paper with a still life, alternately moving our eyes first to the image, then to nature. This allows you to see whether the color proportion that exists in nature is conveyed. The depiction of color shades in light, penumbra, shadow gradually leads to a subtle modeling of form, to the depiction of space and illumination.

5. At the last stage, we generalize all the colors, if necessary, highlight some parts with a more saturated color, and extinguish excessively bright ones that break out from the general color scheme. The drawing is complete.

Physical education lesson (Didactic game “Mood”) Teacher: Each person has different moods, which can be observed by facial expression, facial expressions, eyes, and general appearance. I suggest you play with your moods. (The teacher names the situations and asks the children to show what feelings they will experience in certain cases) - Mom doesn’t let you go for a walk; - Dad gave you a big, beautiful toy; - The older brother does not give the ball; - Suddenly a dog ran out onto the road; - You caught a big fish, etc.

VI. Practical part. Checking student readiness. (With the permission of the teacher, students perform a drawing - a still life from life.)

VII. Results of the lesson and reflection on learning activities. - What new did you learn about still life today? - Remember what goal we set in the lesson? - Did you like working on the still life? - What was the most difficult and most interesting in the lesson? Exhibition of student works. Evaluation of work. VIII. Homework: Draw an autumn still life. Final word from the teacher. Teacher: Having looked at your work, I can say that you have learned to beautifully and expressively arrange objects on a sheet of paper, choose the right color for coloring, and carefully write out small details. As you know, drawings look attractive if they are done carefully, with artistic taste, and diligently. Our lesson has come to an end, you all worked well, thank you all for your work. Goodbye.

Methodical work. Outline of an open lesson on the topic:

“Decorative still life using line and spot” in 2nd grade of the art department of the Children's Art School

Progress of the lesson

So let's repeat:
1. What is “decorativeness”?
2. How do you understand the expression “stylization of an object”?
3. What are the ways to express an object?
4. What does the balance of color spots mean?
Now let's look at the presentation on the topic: “Decorative still life in the works of artists.” Show presentation.

So, let's confirm which artists you remember from the presentation (showing cards with reproductions of artists).
Now you need to make a color scheme on a separate sheet of paper for future work.
Now I suggest you do practical work on A3 format. It is necessary to make a sketch of a decorative stylized still life from life. It can be done in the style of famous artists from the ones we discussed earlier. It is necessary to correctly arrange objects in the composition. To achieve balance, you can use the division of the plane into parts. The color scheme is in contrasting and complementary colors, correctly distribute color accents.

Independent work. 20 minutes.

Literature
1. N.P. Beschastnov, V.Ya. Kulakov and others. “Painting” - M: Vlados, 2003.
2. Alekseev S.O. “About color” - M, 1974.
3. Anufriev V.G., Anufrieva L.G., Kislyakovskaya T.N. and others. “Drawing, painting, easel composition, basics of graphic design.”
4. Beda G.V. “Painting” - M: Education, 1986.
5. Volkov N.N. “Composition in painting” - M: 1977.
6. Volkov N.N. “Color in painting” - M: Iskusstvo, 1985
7. Kuzin V.S. “Fine arts”, 2nd grade – M: Bustard
8. Manin V.S. “Masterpieces of Russian painting” - M: White City, 2003.
9. Yashukhin A.P. “Painting” - M: Enlightenment, 1985.