Conversation with children of senior preschool age “Whom does the portrait tell about. Methods of familiarizing preschoolers with portraiture

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Portrait painting is one of the most difficult and significant genres in the visual arts. Portrait is a complex genre of painting. Understanding it requires children to have a certain social experience, knowledge both about the person himself, his emotional and moral manifestations, relationships with society and expressing this verbally (in speech) and non-verbally (facial expressions, pantomime), and about the fine arts, his language, ways of creating artistic images. Therefore, long-term work with children is required, the content of which will include two directions.

The first is the formation of ideas about a person, his feelings and emotions, moral attitude to many phenomena of life, expressed internally and externally.

The second direction is the gradual formation in children of an understanding of the language of the pictorial image of a portrait. The first direction will be carried out on different activities, in games, everyday life, everyday activities. The second - in the classroom for familiarization with the portrait and in artistic activities.

Each lesson should be devoted to one portrait, but at the beginning of the lesson it is worth looking through the portraits that the children met in previous lessons.

When getting acquainted with the portrait, the child has the opportunity to feel either a peasant boy who fell asleep in nature, or a cheerful, cheerful soldier, or a mischievous "Dragonfly", or children hurrying to a masquerade. The ability to put oneself in the place of another, to feel his joy, surprise or grief, gives rise to a sense of interest, belonging and responsibility. Living and experiencing many lives creates an opportunity for empathy and understanding.

Knowing the other, the child knows himself more deeply; through the experience of the feelings and relationships of other people, he learns to recognize, clarify and correct his emotions and feelings.

Thus, children develop and consolidate the ability to understand the people around them, showing goodwill towards them, the desire for communication, interaction, sensitivity and caring.

Through acquaintance with the portrait, the child joins the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, their ancestors, class and national relations in society, about professions, life and appearance of people of different times , their relationships, moral standards and rules. An important task of aesthetic education is the search for effective methods of teaching children to understand the originality means of expression different types art.

So, in determining the emotional state of a person in a portrait, the main thing for them is the general facial expression, less often the eyes. Children are able to perceive and name the emotions depicted in the portrait - "smiling", "laughing", "crying". At the primitive level, children also have an aesthetic appreciation of the portrait, but it is not substantiated. Children call "beautiful" often inconsequential details, such as clothes, hair, lace, etc. They do not yet have knowledge about the portrait as a genre of painting and the means of its expression.

Children aged 5 also show a positive interest in the portrait. Emotionally respond to portraits of people whose images are not only close to them personal experience, but also known to them from literature, cinema. Children like people with a positive emotional state more, although they also empathize, sympathize with sadness and sadness.

A five-year-old child already pays attention to such means of expression, such as drawing. When determining the emotional state, he sees not only the face and its facial expressions (the movement of the eyebrows, the expression of the eyes, lips), but also the posture. Five-year-old children already have an elementary understanding of color as a means of expression. They can give an aesthetic assessment of the portrait, although their argumentation is poor and often inconsequential.

With children 6-7 years old, except for the above, it is necessary to discuss the attitude of the author to his model, psychological and social characteristic models, to compare this portrait with the paintings considered earlier (similarities and differences), including to consider and compare the artistic means used by the author.

For kids preschool age most suitable for the harmonious perception of painting are female and male portrait, as well as a portrait of different ages (children, youthful, adult and elderly people).

Artists do not specifically paint portraits for children, so picking them up for use in pedagogical process quite difficult.

Selection principles.

Firstly, these should be highly artistic works both in content and in terms of means of expression.

Secondly, the artistic image of the portrait in terms of content and form of the image should be accessible to the understanding of children, close to the level of their emotional experiences. Portraits should be selected with a vivid expression of emotional states, shown through the relationship of facial expressions, gestures, postures.

Thirdly, you should select portraits that are diverse in type, means and manner of depiction.

Stages of work.

At the first stage of work with preschool children, it is necessary to introduce them to the portrait as a genre of painting, showing its difference from other genres (still life, landscape). Children look at a portrait - a face with a pronounced expression (for example, laughs, rejoices, is surprised). Then, a bust portrait can be offered for consideration, where, along with the emotional state expressed on the face (facial expressions), hands are presented in any movement, gesture.

At the next stage, portraits can be selected, where the relationship of facial expressions, hand gestures, postures is presented and where clothing emphasizes social role person. A more difficult stage will be to familiarize children with a portrait, where the environment brings a certain addition to the image, contributes to a deeper understanding of its idea.

Peculiar distinctive features portraits is that the portrait must convincingly and truthfully convey the appearance of the depicted person, express the character traits of the person and his state of mind, determined by the artist’s intention, the portrait reflects the common typical features of a whole group of people of the era to which the person being portrayed belongs.

Despite the fact that the portrait genre is difficult for preschool children to perceive, the work on familiarization with Russian genre painting in kindergarten showed that preschoolers show interest in portraits of people, try to understand the mood conveyed by the artist by facial expressions, hands

Classes to familiarize preschoolers with portrait painting are built somewhat differently than with genre and landscape painting, both in structure and in methods of conducting them. This is due to the peculiarity of the portrait genre.

To teach to understand and feel the works of portraiture, it is necessary to help children master the features of the pictorial language this genre subject to systematic meetings with works of portraiture and organized conversations.

Conversations about portraiture are built on the basis of three groups of questions.

Questions that encourage children to holistic perception, revealing the content of the picture: "Who is depicted? What can you tell about him (her)? Who (what) was noticed first in the picture? What else is depicted? What did these objects (background) tell about a person? ". When looking at a portrait, you can ask questions that go beyond its content: "What is the girl thinking about? Where has she been? What will she do?" Such questions complement storyline, help to understand the emotional state of a person, develop the child's imagination.

Questions that allow you to understand the emotional state, mood, feelings of the depicted person: "What did the person's face say? Why did the artist depict him like that? What do the eyes say? What "secret" in the person was revealed by the hand, clothing, detail?".

Questions that help children identify means of expression (color, color, composition: movement, posture, location, background, detail, chiaroscuro, etc.): "Why is the tone of the picture like that? Why is one part of the face light and the other dark? Why is the artist depicted a person in such a pose?

By asking questions, the teacher reveals to the children the close connection between the content and the means of expression: muted, dark tones - in pictures with sad content, bright, saturated - in joyful ones, color contrasts are used to highlight the main thing. During the conversation, explanations, comparisons, the technique of emphasizing details, the method of adequate emotions, the method of reviving emotions with the help of literary and song images, the technique of "entering" into the picture, the method of musical accompaniment, and playing techniques are widely used.

Explanation is widely used during the first conversations to clarify the ideas of children.

Comparison. This technique contributes to the development of mental actions: analysis, synthesis, conclusions. Comparing works of different moods, children pay attention to the dependence of the means of expression on the content of the general mood of the picture.

Emphasizing details. The bottom line: when perceiving a portrait, the entire image is covered with a sheet of paper, only the eyes or some other detail remain. This helps to emphasize the expressiveness of an important part of the portrait, to focus attention on it, to help children establish the relationship between the part and the whole. The questions asked of the children help reveal the meaning of the paintings.

The method of adequate emotions is aimed at evoking in children feelings, moods that correspond to the state of the person depicted in the picture.

Using the technique of "entering" the picture, children are invited to imagine themselves in the place of the person depicted in the portrait. It enlivens the perception, awakens the imagination, evokes feelings of empathy, belonging.

musical accompaniment method. When looking at a portrait, music often sounds, the nature of which corresponds to the content and mood of the picture. This facilitates the process of perception, makes it deeper. Music can anticipate the perception of the portrait or be the background for the story of the teacher and children about the depicted person.

Game techniques help to arouse interest in the work, to focus the attention of children on the part of the portrait that is necessary for perception ("Think something about the hand (eyes, clothes, etc.), and we will guess"; "Determine which portrait this music suits "; "Come up with your own name for the portrait"; "Give in motion the position of the hand (head, etc.) of the person depicted in the picture.)

The final conversation on examining the portrait is diverse. It may include the teacher's story about his attitude to the portrait, reading the relevant poems, singing songs, expressing the opinion of the children about the picture, about the thoughts and feelings that arose in connection with this.

Therefore, at preschool age, it is necessary to make the most of the huge opportunities visual arts which affects the inner world of the child, expands his emotional experience, teaches him to understand aesthetic wealth life.

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Methodology for teaching the image of a portrait preschool children

portrait preschooler learning image

Introduction

Conclusion

Bibliography

Introduction

"Drawing a Man" is central theme in the visual arts. And this is understandable: a person, his work, his activity that transforms nature and the world, has always determined the social, social - historical meaning works of fine art.

It is no coincidence that in the very first drawings of children, a person occupies a central place. Here is your beloved mother in a festive outfit, and grandfather, and sister, and dad, and your favorite fairy-tale characters.

However, as a rule, the image of a person in the drawings of children is monotonous, primitive, schematic, and this is not accidental, because a person is the most complex object of the image and significant artistic experience in order to express it correctly and expressively.

In turn, the image of a person, gradually becoming more complex, takes place in children's drawings throughout the entire preschool childhood. The quantity and quality of children's images of people directly depends on how a child (especially of older preschool age) knows how to do it. Often a child, dissatisfied with the fact that his image is not done up to the mark, can simply refuse to draw human faces.

That's why, importance acquires purposeful teaching of children to depict a person's face in accordance with his age capabilities and individual abilities.

In practice, many teachers give in and often refuse to draw a person's face with preschoolers, not realizing that this topic very broad and interesting.

The Renaissance artists first thought about the question of the method of drawing a person. Great german artist Renaissance Albrecht Dürer left theoretical works representing great value in the field of teaching methods. Johann Wolfgang Goethe expressed many valuable thoughts about the method of drawing a person. In domestic preschool pedagogy, N.P. Sakulina, T.G. Kazakova, N.N. Rostovtsev, N.A. Goryaev, etc.

Teaching preschool children to depict a person's face is a complex and painstaking process that requires the teacher to be able to take into account a number of requirements in their work and create the necessary conditions for children's creativity.

and its topic: "Methods of teaching the image of a portrait of preschool children."

the goal is to identify and practice teaching the image of a portrait, with the development of preschool children.

Object: the image of a portrait on a drawing at preschool age.

Subject: methodical training in the image of a portrait of preschool children.

To solve the following tasks:

1. Reveal and portrait in the life of preschoolers;

2. To reveal the method of teaching the portrait during the initial acquaintance on the example of the middle group;

3. Consider the concept of a portrait, its types and principles of development of this genre;

4. Methodically develop a lesson in teaching the image of a portrait of preschool children.

For solutions tasks are as follows: study, analysis and - and literature; the study of drawing in preschool institutions; the allocation of portraiture as a genre of painting, the study of the view, her.

The practical lies in for teaching materials on portrait painting in preschool institutions.

Structure. from the introduction, three chapters, conclusion, list of references.

Chapter 1

1.1 Familiarization of preschoolers with portraiture

The first is the formation of ideas about a person, his feelings and emotions, moral attitude to many phenomena of life, expressed internally and externally.

The second direction is the gradual formation in children of an understanding of the language of the pictorial image of a portrait. The first direction will be carried out in different classes, in games, everyday life, everyday activities. The second - in the classroom for familiarization with the portrait and in artistic activities.

Each lesson should be devoted to one portrait, but at the beginning of the lesson it is worth looking through the portraits that the children met in previous lessons.

Thus, children develop and consolidate the ability to understand the people around them, showing goodwill towards them, the desire for communication, interaction, sensitivity and caring.

Through acquaintance with the portrait, the child joins the historical and cultural life of society, acquires knowledge about famous writers, artists, musicians, scientists, poets, public figures, their ancestors, class and national relations in society, about professions, life and appearance of people of different times , their relationships, moral norms and rules. An important task of aesthetic education is the search for effective methods of teaching children to understand the uniqueness of the expressive means of different types of art.

With children 6-7 years old, except for the above, it is necessary to discuss the attitude of the author to his model, the psychological and social characteristics of the model, to compare this portrait with the paintings considered earlier (similarities and differences), including to consider and compare the artistic means used by the author.

For kids of preschool age, the most suitable for the harmonious perception of painting are a female and male portrait, as well as a portrait of different ages (children, youthful, adult and elderly people).

Artists do not specifically paint portraits for children, so it is rather difficult to select them for use in the pedagogical process.

Selection principles.

Firstly, these should be highly artistic works both in content and in terms of means of expression.

Secondly, the artistic image of the portrait in terms of content and form of the image should be accessible to the understanding of children, close to the level of their emotional experiences. Portraits should be selected with a vivid expression of emotional states, shown through the relationship of facial expressions, gestures, postures.

Thirdly, you should select portraits that are diverse in type, means and manner of depiction.

Stages of work.

At the next stage, portraits can be selected, where the relationship of facial expressions, hand gestures, postures is presented and where clothing emphasizes the social role of a person. A more difficult stage will be to familiarize children with a portrait, where the environment brings a certain addition to the image, contributes to a deeper understanding of its idea.

The peculiar distinguishing features of portraits are that the portrait must convincingly and truthfully convey the appearance of the depicted person, express the traits of the person’s character and his state of mind, determined by the artist’s intention, the portrait reflects the common typical features of a whole group of people of the era to which the person being portrayed belongs.

In order to teach to understand and feel the works of portraiture, it is necessary to help children master the features of the pictorial language of this genre, subject to systematic meetings with works of portraiture and organized conversations.

Conversations about portraiture are built on the basis of three groups of questions.

Questions that encourage children to holistic perception, revealing the content of the picture: "Who is depicted? What can you tell about him (her)? Who (what) was noticed first in the picture? What else is depicted? What did these objects (background) tell about a person? ". When looking at a portrait, you can ask questions that go beyond its content: "What is the girl thinking about? Where has she been? What will she do?" Such questions complement the storyline, help to understand the emotional state of a person, and develop the child's imagination.

Explanation is widely used during the first conversations to clarify the ideas of children.

The method of adequate emotions is aimed at evoking in children feelings, moods that correspond to the state of the person depicted in the picture.

Therefore, at preschool age, it is necessary to make the most of the enormous possibilities of fine art, which affects the inner world of the child, expands his emotional experience, and teaches him to understand the aesthetic richness of life.

1.2 First acquaintance with the portrait (on the example of the middle group of preschoolers)

AT middle group children for the first time get acquainted with the portrait as a genre of painting. The main tasks of the teacher in this process are:

Arouse interest in the portrait in children, the desire to carefully examine it; emotional response to the mood of the depicted people; comprehend emotions and feelings, attitude to the perceived, feel the joy of the skill and talent of the artist; correlate the perceived with one's own feelings and experience, express one's feelings and sensations.

- To bring children to the understanding that in a pictorial portrait the artist depicts a real, specific person (or group of people), expressing his feelings and attitudes towards him;

Without destroying the integral artistic image, to acquaint children with some means of expressiveness of a pictorial portrait, thereby deepening the penetration into the meaning of the artistic image;

To teach children to peer into the face of the depicted person, to see his inner emotional state through the external expression of the eyes, eyebrows, lips, that is, to "read" the drawing, since it is the face that clearly expresses the state of mind of a person, his individuality;

To draw the attention of children to the expressive properties of gesture (movements of arms, legs) and posture, their unity with facial expression, as well as with the color of the portrait, which helps to understand the mood of the depicted and the attitude of the artist towards him;

To bring children to the vision of some elements of the composition of the portrait: the format of the canvas, the portrait-face, the bust portrait, the portrait with a simple pose and hand gestures.

- At a level accessible to children, to form an idea of a portrait as special genre painting and some of its types: (female, male, mixed-age), about the language of painting, the sequence of looking at a portrait; enrich the vocabulary of children with emotional-aesthetic, art history terms, figurative turns of speech that children can use in their judgments; to develop a sense of the relationship of pictorial images with images of other arts according to the emotional mood reflected in them.

Acquaintance with portraiture in this group should begin when the children already have some ideas about painting and its genres such as still life and landscape. Usually this is the second half of the year.

AT Everyday life the educator develops children's attention, observation, understanding and awareness of the manifestations of emotions in peers and adults (external expression of states). For example, Natasha entered the group, she is in a smart dress, laughs, joyful. The teacher says to the children: “Oh, what a cheerful, joyful Natasha is today, she’s just all glowing! And her dress is beautiful!” Or he draws the attention of several children to Sasha: “Look at Sasha, someone offended him. He is about to cry! to him, we will have pity on him and console him!

A good educator often uses gesture, facial expressions instead of a stream of words. This teaches children to look at an adult from time to time, his reaction to their actions, develops attentiveness and observation.

So, instead of the word "no" you can wag your finger, shake your head, spread your arms ("Well, well!"). "Go here!" - invite by hand. "Shut up!" - finger to lips. Approving gestures: stroking, applause. Children should also be shown other gestures, telling what they express (grief, resentment, fear, thoughtfulness, etc.). You can conduct special classes: "When we are happy, when we are sad", "What does it mean "scared", "surprised"?, "Guess what I'm saying" (using facial expressions and pantomimics).

The purpose of such classes is to bring children to an understanding of the emotional states of a person and their external expression. When conducting music lessons or speech development classes, one should pay attention to the emotional mood, the feeling that the work or character of the story, fairy tale expresses.

It is good to use imitative-figurative games, dramatization games, in which children practice in characteristic gestures, postures, and facial expressions. For example, to show how a cunning fox walks, how a frightened bunny jumps, how a clumsy bear waddles through the bushes. Watching filmstrips, films and illustrations for fairy tales about animals and humans can help here. After reading a fairy tale, it is good to consider illustrations about its heroes. How the artist painted an evil wolf, a kind owl-owl, etc. For the same purpose, you can use art-developing games.

For example, “Who is laughing, who is crying” or “Who is happy, who is sad”, “Remove the excess” (children compare the bright emotional states of people depicted on the cards and sort them into groups by commonality).

Children really like games in which you need to guess, understand a gesture, movement, posture. For example, the games "Where we were, we will not say, but what we did - we will show", "Tell without words", "Guess who is doing what."

Thus, we found out that there is a large number of means and methods of familiarization and teaching the portrait in the middle group of preschoolers. Next, we will consider the concept of a portrait, its genres and principles of development.

Chapter 2. The concept of a portrait, its genres and principles of development

What is a portrait (portrait - older French - portraire - means to portray)?

Portrait is a genre of fine art dedicated to the image certain person or groups of people - an outwardly individually similar display of a person on canvas or paper, with the aim of presenting him to others, showing the character, inner world, life values \u200b\u200bof the depicted.

Drawing a person's face in a portrait is the most difficult direction in the visual arts. The artist must discover the main accents of the personality, emphasize characteristics, the emotionality of a person and reveal the spiritual disposition of the person being portrayed.

Depending on the size of the painting, the portrait can be of different types: bust, half-length, generational and full-length.

Portrait pose: from the face, three-quarter turn to any side and in profile.

A creative portrait is a creative painting, a special genre of painting that refers to the creation of something new in the image. human personality.

Fundamentals of the portrait. The main and main thing in the portrait is the face of a person, which portrait painters are working on most time, trying as accurately as possible to convey the similarity and character, color shades of the head, gesture and facial expressions related to a particular character, the artist finds traits of greater vitality, naturalness in the image of the face, while the rest of the details of the portrait, whether it is clothing background, imprinting on canvas details of a certain entourage, are considered more conditional, since the similarity does not depend on this.

The similarity in the portrait occupies the main and dominant role, if the similarity is very lame, it outweighs all the other positive advantages of the classical portrait, as a result, it can be beautiful in elaboration and color but faceless picture.

Portrait genres are subdivided: chamber, intimate formal portrait, and also self-portraits, where, as a rule, artists depict themselves. The portrait genre in fine arts is a natural one that does not need specific justification. independent genre painting.

Portrait Sub-Genres: The boundaries of the portrait genre reflect different directions intertwined with elements of other genres. For example, historical portrait: the image of a person in the clothes of past centuries, is created by imagination and according to available materials, memories of that time. Painting portrait - the character is presented surrounded by nature, architecture with the plot of the world of things and household items. A costumed portrait of a character is depicted in historical theatrical costumes, beautiful for perception and various paraphernalia related to the plot.

Basic principles of development. The reproduction of nature in a portrait has been the main principle of the portrait genre for centuries. But in different periods there were different interpretations of the concept of "similarity". The process of imitating nature and translating it into an artistic image each time had its own characteristics, which depended on the general ideological and aesthetic prerequisites of the period, as well as on the specific creative practice - creative method, style and means artistic expressiveness.

The origin of portraiture refers to ancient times. The first significant examples of the portrait are found in ancient oriental, mainly ancient Egyptian sculpture. (The surviving images of faces of the previous period - the art of Mesopotamia, are impersonal images of deities and do not carry individual features).

The appointment of a portrait in Egyptian art was due to cult, religious and magical tasks. There was a need for "duplication" of the model (that is, the portrait was a double of the deceased in the afterlife).

One of the roots of such realism was technique: the Roman portrait developed from death masks, which it was customary to remove from the dead and store at the home altar (lararium) along with figurines of lars and penates. They were made of wax and were called imagines. In the event of the death of a member of the family, ancestral masks were carried in the funeral procession to emphasize the antiquity of the aristocratic family. (This was a vestige of the cult of ancestors).

In addition to wax masks, bronze, marble and terracotta busts of ancestors were kept in the lararium. Cast masks were made directly from the faces of the deceased and then processed in order to give them a greater natural resemblance. This led to an excellent knowledge by the Roman masters of the features of the muscles of the human face and its facial expressions, which led to excellent results even with ordinary posing. The roots of such a funeral cult were taken by the Romans from the Etruscans, whose portrait was also extremely developed.

The turning point in portraiture, which again came to prominence, came in the Renaissance. It was associated with a change in the ideology of the era. Renaissance man was full of humanistic realism, that is, he loosened the fetters of religion and believed in the power of the individual, began to consider himself the measure of all things - and therefore he came to the fore in art.

Portrait painters of the Renaissance largely idealized the model, but at the same time they certainly tried to comprehend its essence. "Depicting his hero in a certain earthly environment, the artist freely placed the model in space. And the model increasingly appeared not against a conditional, unreal background, as it was in the art of the Middle Ages, but in unity with a realistically interpreted interior or landscape, often in direct live communication with fictional (mythological and gospel) characters. In monumental paintings, among other characters, the artist also often depicts himself. "

Renaissance anthropocentrism is especially pronounced in the portrait work of the masters High Renaissance. Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto further deepen the content of portrait images, endow them with the power of intellect, a sense of personal freedom and spiritual harmony, significantly update the means of artistic expression ( aerial perspective Leonardo da Vinci, coloristic discoveries of Titian).

The most famous portrait in the world - "Mona Lisa" by da Vinci was written in this era.

The first works of Russian portrait painting of the XVI-XVII were parsuna. "Parsuna" means the same as "person", that is, just a portrait. The parsun combines the features and techniques of traditional ancient Russian icon painting and Western European secular painting from life. Representatives of the Russian parsuna - Simon Ushakov, Karp Zolotarev and others. - portrait painters of the royal court.

A breakthrough in the portrait genre in Russia, as in many other areas, happened in the time of Peter the Great. Peter I both invited foreign masters and contributed to the training of domestic ones. At the end of Ser. XVIII century it is already possible to list original and talented masters. These are Ivan Nikitin, Alexei Matveev, Alexei Antropov, Ivan Argunov, Ivan Vishnyakov.

Their works are distinguished by skill and accuracy in the transfer of appearance, although they have not reached full perfection. “From the middle of the 17th century to the middle of the 18th century, the portrait was the property of mainly court circles - whether it was a royal memorial “parsuna”, a ceremonial imperial portrait or images of people one way or another close to the supreme power. Only from the middle XVIII century the portrait "falls" into the masses of the private local nobility, under the influence of enlightenment, still rare images of peasants and merchants appear, portraits of cultural figures are created.

By the end of the 18th century, the quality of the Russian portrait was on par with contemporary world models. Its representatives are Fyodor Rokotov, Dmitry Levitsky, Vladimir Borovikovsky, in the engraving - Fedot Shubin. Samples of the portrait genre in line with realism are created by the Wanderers. Vasily Perov and Ivan Kramskoy, Nikolai Ge, Nikolai Yaroshenko and especially Ilya Repin.

Portraits of representatives of the intelligentsia of this era are widely known. "Russian portrait painters often turn to portrait-type, the heroes of which are nameless representatives of both the people and the revolutionary intelligentsia, create samples of emphatically accusatory portraits, widely introduce the portrait principle into everyday life and historical genres(paintings by V. I. Surikov).

Thus, having considered the concept, genres and stages of development of the portrait, we can offer in the next chapter Methodical development classes for teaching the image of a portrait of children, which can be held in any preschool institution.

Chapter 3

Abstract of a drawing lesson in senior group"Portrait of Mom"

Purpose: To consolidate children's knowledge of the portrait genre. Arouse in children the desire to draw a portrait of their mother, convey in the drawing the features of her appearance (eye color, hair). Continue to learn how to correctly position the parts of the face. Cultivate love and tender attitude towards mother.

Vocabulary work: Portrait, bust, cheerful, benevolent long-haired, round-faced, black-browed, big-eyed.

Material: Poster with a female bust portrait, chalk. Children have a sheet of paper (A-4), a simple pencil, colored pencils.

Preliminary Work: Consideration various portraits, drawing pencil portraits.

Didactic games: "What", "Say kindly."

Lesson progress:

Guys, today we will draw a portrait of your mother, your most beloved person.

Like turquoise, mother's eyes

Clear and pure, kind, radiant.

Like stars all around, and they speak to me.

Mom is my favorite friend!

Before drawing, the children and I remember what shape the head is? (we circle our heads with our fingers), remember where the eyes of a person are located and what shape they are? (the eyes are located below the forehead and they are oval in shape with sharp corners).

I draw with chalk on the board an oval and in the middle of his eyes. Then I explain to the children that you need to draw only the tip of the nose, and from the tip of the nose to the end of the face are lips. I remind you that the neck is narrower than the face, and the shoulders are wider than the head.

Didactic game "What?"

If a mother enjoys life, then what is she like? - cheerful;

If a mother wishes well, then she is benevolent;

If mom has long hair- long-haired;

If mom has a round face - chubby;

If mom has big eyes - big-eyed;

If mom has black eyebrows - black-browed;

Didactic game "Say kindly."

Mom - mom, nose - nose, lips - lips, eyes - eyes, eyebrows - eyebrows, cheek - cheeks, forehead - forehead.

And now, guys, remember your mother's eyes, mother's hair color, mother's look, mother's smile, mother's favorite beads and start drawing. There is a children's song about "Mammoth".

Who finds it difficult I provide assistance.

At the end of the lesson, I put all the children's drawings on the board and the children analyze their drawings.

Conclusion

Having studied the methodological literature and the latest modern innovations in the field of visual activity, we came to the conclusion that in modern techniques teaching visual activity, tasks are defined that aim teachers working with preschool children to carry out certain work to teach children to depict the world of people and familiarize themselves with the portrait genre in art.

It should be noted that the first and indispensable condition for the effectiveness of teaching portrait drawing at preschool age is systematic work using a variety of methods.

The key to successful work on the expressiveness of the human face is the children's knowledge of the world around them and the creation of conditions for independent visual activity.

The work of teaching children to draw begins with the development of manual skill, including the technique of depiction, shaping movements, generalized methods of action, and regulation of pictorial movements. Learning to draw a portrait begins with drawing the head.

In order to fully give children an idea of the portrait, without overloading the child and keeping him interested in classes, it is necessary to correctly organize the pedagogical process:

1. Conduct classes in small subgroups.

2. Children are very different: these are gifted children, children with good physical abilities and children who require special support and care. And very important individual approach and creating a situation of success for the child in the classroom, which later helps him to freely express his thoughts and feelings. A smile, a kind word, praise and a feasible task given to a child bring emancipation, self-confidence and help to express themselves creatively.

3. It is important to change the types of activities in the classroom, i.e. alternation of mental and muscular load.

4. Making the most of the game plots helps to keep the interest throughout the session.

Another necessary condition is to establish a trusting relationship with parents, if possible, involve parents in the creative and educational process.

As a result of systematic and systematic work, children will need to communicate with the beautiful when they get acquainted with the fine arts, they will have the desire and ability to qualitatively and expressively depict a person’s face in fine arts, self-esteem will increase, and confidence in their abilities will appear. Hard, hard work will certainly give positive results.

Bibliography

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

2. Upbringing and education of children of the sixth year of life. / Ed. Ushakova O.S., Paramonova L.A. - M.: Enlightenment, 2001. - 160 p.

3. Golovina T.N. Visual activity of students of auxiliary schools. M., "Pedagogy", 1994.

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

5. Grigorieva G.G. Visual activity of preschoolers. - St. Petersburg: Childhood-Press, 1997. - 224 p.

6. Ignatiev S.E. Patterns of visual activity of children: Tutorial for universities. -- M.: Academic project; Fund "Mir", 2007. - 208 p.

7. I. Selyutin "How to draw a human figure", from the series "Magic Pencil", - M., AST-Publishing House, 2007.

8. Kazakova T.G. "Children's fine art" Moscow, Karapuz - Didaktika, 2006.

9. Kazakova T.G. Art activities for preschoolers. - M.: Enlightenment, 1996.

10. Kazakova T.G. Encourage creativity in preschoolers. - M.: Enlightenment, 2005. - 146 p.

11. Kardovsky D.N. A guide to drawing / Under the general. ed. prof. Kardovsky D.N. etc. M.: Publishing House: "V. Shevchuk", 2006. - 208 pp.

13. Rostovtsev N.N. Methods of teaching fine arts at school. M.: AGAR, 2000. - 242 p.

14. Savin N.V. Pedagogy. Proc. allowance for ped. schools. Ed. 2nd, add. M., "Enlightenment", 1978.

15. Sakulina N.P. Drawing in preschool childhood. - M.: Pedagogy, 1965.

16. Sakulina N.P., Komarova T.S. Visual activity in kindergarten. - M.: Enlightenment, 2003. - 208 p.

17. Yashukhin A.P. Painting: Proc. allowance for students ped. uch-sch on special. №2003 "Teaching drawing and fine arts". - M.: Enlightenment, 1985. - 288 p.: ill.

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Familiarization of preschoolers with portraiture

Portrait painting is one of the most difficult and significant genres in the visual arts. This is not just an image of a specific person, where the task of external similarity comes to the fore, but difficult study the psychology of the human personality, its inner world, the essence of character, the uniqueness of its appearance, its definition as a typical representative of the era, nationality, class, the artist's expression of his attitude towards her. No other genre of painting is capable of revealing a person the way a portrait does. With the help of a special artistic language, he draws the attention of children to the most essential in a person among the variety of his qualities - from physical and moral-emotional to intellectual manifestations.

It is in the portrait that the vast spiritual experience of the feelings and attitudes of mankind towards good and evil, mercy and cruelty, love and hatred is concentrated. The means of conveying a message about the emotional state of a person in life is body language - expressive movements of facial expressions, gestures, postures and speech, intonation, tone of speech. The artist, using the pictorial "language" in the portrait human feelings”, reveals the inner world of a person, his state of mind, gives a psychological description of the experiences of joy, suffering, pleasure, anger, distrust, slyness and other emotions that fill a person’s life. Therefore, familiarization of children with the genre of portraiture is necessary for the formation, development and consolidation of an understanding of the state of another person.

When getting acquainted with the portrait, the child has the opportunity to feel either a peasant boy who fell asleep in nature, or a cheerful, cheerful soldier, or a mischievous Dragonfly, or children hurrying to a masquerade. The ability to put oneself in the place of another, to feel his joy, surprise or grief, gives rise to a sense of interest, belonging and responsibility. Living and experiencing many lives creates an opportunity for empathy and understanding. Knowing the other, the child knows himself more deeply; through the experience of the feelings and relationships of other people, he learns to recognize, clarify and correct his emotions and feelings. Thus, children develop and consolidate the ability to understand the people around them, showing goodwill towards them, the desire for communication, interaction, sensitivity and caring.

In addition, familiarization with portraiture contributes to the development of emotional, aesthetic and artistic feelings of children, which are characterized by a complex interweaving of often oppositely directed emotions, which exercises, trains feelings, makes them more perfect. Combining in a peculiar way, they complement, balance, ennoble each other. The sooner we develop the emotional-sensory world of the child, the brighter and more extraordinary his imagination, figurative and associative thinking will work, the more interesting and richer his creative self-expression will be.

Research by psychologists makes it possible to establish that the portrait as a genre of painting is accessible to the aesthetic perception of children from the age of 4. At this age, they emotionally respond to the expressive image of the portrait (smile, laugh, stroke it, etc.), show a positive interest in it, use personal experience, by association with which they come up with situations close to their personal life. Carried away by the general content of the portrait, children at this age are still not quite able to explain the preference for choosing one or another portrait. However, some means of expression are already available to their understanding. So, in determining the emotional state of a person in a portrait, the main thing for them is the general facial expression, less often the eyes. Children are able to perceive and name the emotions depicted in the portrait - “smiling”, “laughing”, “crying”. At the primitive level, children also have an aesthetic appreciation of the portrait, but it is not substantiated. Children call “beautiful” often inconsequential details such as clothes, hair, lace, etc. They do not yet have knowledge about the portrait as a genre of painting and the means of its expression.

Children aged 5 also show a positive interest in the portrait. They emotionally respond to portraits of people whose images are not only close to their personal experience, but are also known to them from literature and cinema. Children like people with a positive emotional state more, although they also empathize, sympathize with sadness and sadness. A five-year-old child already pays attention to such means of expression, such as drawing. When determining the emotional state, he sees not only the face and its facial expressions (the movement of the eyebrows, the expression of the eyes, lips), but also the posture. Five-year-old children already have an elementary understanding of color as a means of expression. They can give an aesthetic assessment of the portrait, although their argumentation is poor and often inconsequential.

Artists do not specifically paint portraits for children, so it is rather difficult to select them for use in the pedagogical process. The above features of children's perception of portraiture allow us to determine some principles for their selection.

Firstly, these should be highly artistic works both in content and in terms of means of expression.

Secondly, the artistic image of the portrait in terms of content and form of the image should be accessible to the understanding of children, close to the level of their emotional experiences. To a greater extent, these are positive emotional states of a person, although by the end of middle preschool age, some negative emotions (anger, pain, despair) can also be shown if their understanding is facilitated by depicting details or the environment surrounding a person. Portraits should be selected with a vivid expression of emotional states, shown through the relationship of facial expressions, gestures, postures.

Thirdly, you should select portraits that are diverse in type, means and manner of depiction.

For preschool children, the most suitable for the harmonious perception of painting are a female and male portrait, as well as a portrait of different ages (children, youthful, adult and elderly people).

In the middle group, children first get acquainted with the portrait as a genre of painting. The main tasks of the teacher in this process are:

To bring children to the understanding that in a pictorial portrait the artist depicts a real, specific person (or group of people), expressing his feelings and attitudes towards him; without destroying the integral artistic image, to acquaint children with some means of expressiveness of a pictorial portrait, thereby deepening the penetration into the meaning of the artistic image; to teach children to peer into the face of the depicted person, to see his inner emotional state through the external expression of the eyes, eyebrows, lips, that is, to “read” the drawing, since it is the face that vividly expresses the state of mind of a person, his individuality; draw the attention of children to the expressive properties of gesture (movements of arms, legs) and posture, their unity with facial expression, as well as with the color of the portrait, which helps to understand the mood of the depicted and the attitude of the artist towards him; to bring children to the vision of some elements of the composition of the portrait: the format of the canvas, the portrait-face, the bust portrait, the portrait with a simple pose and hand gestures.

At a level accessible to children, to form an idea of a portrait as a special genre of painting and some of its types: (female, male, mixed-age), about the language of painting, the sequence of viewing a portrait; enrich the vocabulary of children with emotional-aesthetic, art history terms, figurative turns of speech that children can use in their judgments; to develop a sense of the relationship of pictorial images with images of other arts according to the emotional mood reflected in them.

Portrait is a complex genre of painting. Understanding it requires children to have a certain social experience, knowledge both about the person himself, his emotional and moral manifestations, relationships with society and expressing this verbally (in speech) and non-verbally (facial expressions, pantomime), and about the fine arts, his language, ways creating artistic images. Therefore, long-term work with children is required, the content of which will include two directions. The first is the formation of ideas about a person, his feelings and emotions, moral attitude to many phenomena of life, expressed internally and externally. The second direction is the gradual formation in children of an understanding of the language of the pictorial image of a portrait. The first direction will be carried out in different classes, in games, everyday life, everyday activities. The second - in the classroom for familiarization with the portrait and in artistic activities.

In everyday life, the educator develops children's attention, observation, understanding and awareness of the manifestations of emotions in peers and adults (external expression of states). For example, Natasha entered the group, she is in a smart dress, laughs, joyful. The teacher says to the children: “Oh, what a cheerful, joyful Natasha is today, she’s just all glowing! And her dress is beautiful! Or draws the attention of several children to Sasha: “Look at Sasha, someone offended him. He's crying now! Look at the drooping shoulders and head, and the face, how offended: the eyebrows are raised at the corners, and the tips of the lips are lowered. Let's quickly go to him, take pity on him and console him!

The educator constantly draws the attention of the children to the emotional state of adults - parents, educators, educator assistants. In addition, he clearly conveys his feelings to children, clearly showing them outwardly: both in speech, intonations, and in facial expressions, pantomime (gestures, posture, movements). Children should be taught to understand sign language, facial expressions, posture expression. A good educator often uses gesture, facial expressions instead of a stream of words. This teaches children to look at an adult from time to time, his reaction to their actions, develops attentiveness and observation.

So, instead of the word “no”, you can shake your finger, shake your head, spread your arms (“Well, well!”). "Go here!" - invite by hand. "Shut up!" - finger to lips. Approving gestures: stroking, applause. Children should also be shown other gestures, telling what they express (grief, resentment, fear, thoughtfulness, etc.). You can hold special classes: “When we have fun, when we are sad”, “What does it mean ‌« frightened", "surprised"?", "Guess what I'm saying" (use of facial expressions and pantomime). The purpose of such classes is to bring children to an understanding of the emotional states of a person and their external expression. When conducting music lessons or speech development classes, one should pay attention to the emotional mood, the feeling that the work or character of the story, fairy tale expresses.

Watching filmstrips, films and illustrations for fairy tales about animals and humans can help here. After reading a fairy tale, it is good to consider illustrations about its heroes. How the artist painted an evil wolf, a kind owl-owl, etc. For the same purpose, you can use artistic and educational games. For example, “Who laughs, who cries” or “Who is happy, who is sad”, “Remove the excess” (children compare the bright emotional states of people depicted on the cards and sort them into groups by commonality).

Children really like games in which you need to guess, understand a gesture, movement, posture. For example, the games “Where we were, we will not say, but what we did we will show”, “Tell without words”, “Guess who is doing what”.

Thus, the portrait genre of painting reveals the world of feelings and the life of people. This is extremely important for children's knowledge of the emotional sphere of people and human relationships. In the process of getting acquainted with the portrait, children gradually form an aesthetic assessment of the person whose image is conveyed by the artist, graphic artist, sculptor. Therefore, in At preschool age, it is necessary to make the most of the enormous possibilities of fine art, which affects the inner world of the child, expands his emotional experience, and teaches him to understand the aesthetic richness of life.

Examples of outlines of classes for familiarizing children

Middle preschool with portrait painting

Conversation “WHOM THE PORTRAIT TELLS ABOUT”

Program content. Arouse in children an interest in a new genre of painting - a portrait, a desire to carefully examine it, emotionally respond to the mood of an artistic image, experience pleasure and joy from meeting it. To give children an idea of some types of portraits (female, male and mixed ages). Enrich the vocabulary of children with emotional and aesthetic terms, figurative expressions. To develop a sense of the relationship between the moods of visual and musical images.

Preparatory work. The system of classes to familiarize children with still life, landscape. Drawing, modeling, application of images of people.

Materials. Reproductions of portraits "Margot is dancing" by P.P. Konchalovsky; “The Laughing Soldier” (a fragment of the painting “Suvorov Crossing the Alps”) by V.I. Surikov; "Portrait of a peasant woman in a Russian costume" by I.P. Argunov; "Portrait of F. Yusupov with a bulldog" V.A. Serov; "Portrait of L.N. Tolstoy" N.N.Ge. The musical play "Dreams" from the "Album for Youth" by R. Schumann.

Course progress.

caregiver . Guys, now we will go to an exhibition of art paintings and admire them. You will quietly enter the hall, try to walk around the paintings yourself and examine them carefully, and then you will tell me who these paintings are about. When the music ends, go to the chairs and sit down.

Children enter under quietly sounding music into the hall, approach the stands and examine the portraits. After 2 minutes, the teacher turns off the player.

Did you like the pictures? (Children's answers.) Who is depicted in these pictures? Yes, girl, boy, man, woman, an old man- adults and children, but in general - people. Such paintings are called portraits. A portrait is an image of a real person who lives now or once lived. The portrait should be very similar to the person the artist is painting, but the artist tries to portray him in such a way that everyone can see how kind he is or not, cheerful or sad, cunning or simple-hearted.

Usually the artist paints a portrait of the person he knows, loves or respects. So, often artists paint portraits of their children or children of acquaintances. Look at the painting “Margot is dancing” by Pyotr Petrovich Konchalovsky, he painted his mischievous daughter. Sometimes portraits are ordered to the artist, and sometimes he himself chooses a model for himself, that is, the one he wants to draw. For example, Nikolai Nikolayevich Ge had great respect for the famous writer Leo Nikolayevich Tolstoy, and he painted him - look at the portrait.

But the portrait of the boy Felix Yusupov to the artist Valentin Aleksandrovich Serov was ordered by his parents. The boy was very fond of his dog - a bulldog, the artist painted him.

Did you like the portraits? We will see them again. And now let's look at them, admire and listen to beautiful music. (Includes for 1-2 minutes an excerpt from the musical work "Dreams" by R. Schumann.)

SPANISH DANCE

Examination of the painting "Margot is dancing" (P.P. Konchalovsky, 1949)

Program content. Arouse in children an interest in the portrait of a girl, a desire to carefully consider it, emotionally empathize with her, correlate what they see with their own experience, develop imagination, imaginative thinking, fantasy. Enrich the vocabulary of children with the concepts of "gesture", "pose"; "naughty", "sly", "minx"; "castanets", "Spain", " spanish dance". To develop in children the ability to speak out, evaluate, communicate about what they see; to feel and establish a connection between the moods of pictorial, poetic and musical images.

Preparatory work. Consider illustrations with dancing people, paying attention to the location of their arms, legs, the whole figure, consider diagrams different poses dancing people. If possible, invite dancers to demonstrate the Spanish dance, examine the clothes and castanets. On the musical lesson teach the children some Spanish dance moves.

materials . Reproduction of the portrait "Margot is dancing" by P.P. Konchalovsky. Musical work "Espana Cani" or "Malaguena" by I. Albeniz.

The course of the lesson.

Children sit near the stand, it is closed.

caregiver . Children, recently we saw a beautiful Spanish dance. Did you like it? With what? (Children's answers.) Today I have prepared a picture for you (opens). Look at it and admire it, and I will turn on the music, it will help us understand what this picture is about, and remind us of something. (Turns on the melody "Espana Cani", after 1-2 minutes turns off the player.) So what did the music remind you of? (Children's answers.) Fervent Spanish dance to the castanets. The composer conveyed it with sounds and rhythm. What did the artist see? (Children's answers.) He saw his naughty and mischievous daughter dancing the Spanish dance beautifully and gracefully.

Margarita was playing with a ball, jumping rope, but suddenly she heard music and began to dance. Her mother saw this and dressed her daughter in her silk blue dress with three frills at the bottom and on the sleeves. She wore a fluffy white skirt underneath. She tied a bright yellow scarf around her neck. What a beautiful combination of colors turned out - cold blue with bright yellow! Mom attached two flowers to the girl's hair. It turned out to be a charming Spaniard!

Look at the girl's face and tell her how she's feeling. (Children's answers.) Cheerful, mischievous, crafty, perky - her mouth is open in a smile, even white teeth are visible. Big brown eyes gleam merrily and look straight at us. The girl's hair is lush, dark brown. Now tell me, what does the girl do? (Children's answers.) How did you guess? Pose dancing man- raised arms and legs. What is it in her hands? Rattles, like a dancer's castanets, beat the rhythm.

How beautiful the graceful and bright figure of a girl looks on a light background! What would you name this portrait? (Children's answers.) And the artist called his painting "Margot is dancing." With gentle humor and love, he named his daughter a little in Spanish. And now let's listen to another Spanish melody and, looking at the girl, imagine that she is dancing to this music. (At the end, you can invite the children to join the dance.)

Test 1. The types of visual activity do not include: a) drawing b) architecture c) appliqué d) modeling

Test 2. The types of visual activity include: a) painting b) graphics c) modeling d) sculpture

Test 4. A wooden painting machine is: a) a palette b) an easel c) a turntable d) a composition

Test 5. The painting by I. I. Shishkin “Morning in a Pine Forest” refers to: a) sculpture b) graphics c) painting d) architecture

Test 6. K visual means include: a) stroke, line, spot; b) gouache, pencil, charcoal; c) proportions, construction, tone

Low level - 14 - 16 bp. Average level- 17 -19 b. High level- 20 b.

To get acquainted with the stages, methods of familiarization with the painting of preschool children according to the book: Chumicheva R. M. Preschoolers about painting. - M., 1992. To determine which of these teaching methods are used at the first stage of acquaintance with painting: questions of a generalized nature, aimed at establishing a connection between the content of the work and the means of expression; art criticism story of the educator; a technique for identifying the compositional and coloristic features of the picture; reception of comparison of pictures; questions of a specific nature on the enumeration of the image; the technique of "entering the picture", recreating previous events; reception of classification of pictures; a sample story that reveals the emotional and personal attitude of the teacher to the picture; game techniques and situations; mini stories of children about the picture.

Determine which of these teaching methods are used at the second stage of acquaintance with painting: a story is a sample that demonstrates the teacher's emotional and personal attitude to the picture; receiving direct instructions from the teacher; questions in order to establish a connection between the content of the picture and the means of its artistic expression; the technique of mentally creating your own picture by name, given by the artist; art criticism story of the teacher; mini story of children about the picture they liked; questions of a specific nature aimed at the formation of an emotionally personal attitude to the picture; search for compositional and coloristic options for solving the image; use of music, poetry; comparison method.

Determine which of these learning methods are used on Stage III acquaintance with painting: questions of a specific nature for listing what is depicted in the picture; reception of comparison of pictures; mini stories of children about the picture they like; art criticism story of the educator; children asking questions about the viewed work; reception of classification of pictures; use of music, poetry; questions of a specific nature aimed at shaping the personal attitude of children to the picture; the method of mentally creating your own painting by the name given by the artist; a sample story that reveals the emotional and personal attitude of the teacher to the picture.

HOMEWORK To select artistic didactic games and exercises for preschool children to familiarize preschool children with fine arts.

HOME WORK Compile a glossary of terms on the topic "Painting", using the following sites: http: //eart. by. ru/ Glossary of terms in fine arts http: //artdic. ru/ Dictionary fine arts - artists http: //www. wm painting. en/Terms. KO Terms in Fine Art

HOMEWORK Work in subgroups. Fill in the table. To study the studies of one author and present the features of this technique. . AUTHOR ZUBAREVA N. M. CHUMICHEVA R. M. Purpose of the study Training program Methodological Techniques Organization of children's activities

Literature Zubareva N.M. Peculiarities of aesthetic perception of still life by children of senior preschool age // Issues of Psychology. - 1965. - No. 5. - S. 50 -58. Zubareva NM Children and fine arts. M.: Enlightenment, 1969. -S. 24-42. Khalezova N., Chumicheva R. How older preschoolers understand the significance of social phenomena expressed in genre paintings// Preschool education. - 1985. - No. 3. -S. 52-54. Chumicheva R. M. Preschoolers about painting. - M.: Enlightenment, 1992. .

Requirements for a portrait Availability of the content of portraits for children's perception. The content of the portrait should be of an educative, humane nature, contribute to the formation of moral and aesthetic qualities, feelings, and relationships. Vivid expression of the emotional state. A variety of means of expression (color, composition, facial expressions, rhythm)

Stage 1: “Contemplative”. Purpose: To bring children to the perception of portrait art. Objectives: To learn to understand the “language of emotions”. Develop attention and observation. To cultivate a sensitive attitude towards other people, enriching the social experience of children.

Task “Look at your friend and describe him”, “Remember what your friend was like yesterday? How did you know about it? Why was he like this? ", etc. "Look carefully into the face of your mother (dad) and tell us tomorrow about her (about him)", etc. "When and why were you cheerful, sad, scared, surprised, etc.".

didactic games and exercises “Guess the “secret” of the face”, “Know the character”, “Draw the face”, “Artists”, etc.

Works of literature V. Mayakovsky “What is good and what is bad”, A. Barto “Vovka is a kind soul”, L. Kvitko “Grandmother’s hands”, E. Schwartz “The Tale of Lost Time”, T. Nuzhdina “The World of People” and etc.

Proverbs and sayings “Small in body, but great in deed”, “Healthy for food, but frail for work”, “Look at the fruit, and the person in deeds”, “The day fades at night, and the person sadness”, etc.

Stage 2: “Artistic” Purpose: To enrich the sensory experience of children through aesthetic perception portraiture and sculpture. Tasks: 1. Clarify knowledge about the portrait genre, its types and features. 2. Learn to understand the “language of fine arts”. 3. To form the ability to give an emotional and personal assessment of the work.

Methodical techniques Explanation (used during the first conversations to clarify ideas, for example, “Why do you think, when I showed this sculpture, such music sounded?”), Comparison (for example, reproductions from V. M. Vasnetsov’s painting “Alyonushka” and sculpture), Emphasizing details (the whole image is closed, except, for example, eyes, lips, hands).

Methodical techniques Causing adequate reactions (for example, when looking at the sculpture “Mother and Child”, children are asked questions: “Remember how you felt when your mother hugged you? What are your mother’s hands?”), Tactile-sensory method (touching the child, repetition depicted movements), Revival of children's emotions with the help of literary and song images, (examination of a reproduction from M. Vrubel’s painting “The Swan Princess” is accompanied by A. S. Pushkin’s poems about the Swan Princess;

Methodical techniques Reception of “entering the picture” considering a reproduction from I. Kramskoy’s painting “Unknown”, children are invited to put themselves in the place of the depicted woman and answer the questions “What do you feel? do you hear? see? ”), the method of musical accompaniment (may precede the perception of the picture, accompany it and serve as a background for art history story), Game techniques (“Think something about the eyes (clothes, hands, etc.), and we will guess”, “Find out which of the portraits this music suits?”, “Come up with your own name for the portrait”, “Find out silhouette sculpture”, etc.).

The means of expressiveness of this genre are facial expressions - eyes and lips are noted; posture and gesture, hands, costume, background, etc.

Types of portrait By the number of people depicted (single, group and pair), By composition (head, head with shoulder girdle, half-figure, figure), By semantic load (ceremonial and chamber).

Stage 3: “Artistic” Purpose: To develop artistic perception of a person in children. Tasks: 1. Improve the technical skills of the image of a person. 2. Develop children's creative abilities. 3. To form the ability to understand other people, convey their inner world and express their attitude towards the person depicted in the portrait.

Main topics 1. Ways of depicting a person. 2. Means of expressiveness of the portrait. 3. Transfer of features of the image of a person.

Ways of depicting a person Non-traditional, drawing with a palm. “Palm painting and graphics” children draw portraits of Pinocchio (Pencil, etc.). Using ready-made stencils that are outlined and completed (both static and dynamic).

Forms of organizing classes “Pencil Lessons”, training is conducted on behalf of a cane puppet. Game activities, for example, “Football” (a sheet of paper is made out like a football field, the children sit opposite a friend and start the game in turn, serving the ball and drawing a running football player at the place where he stopped).

Game tasks Unraveling the letter, drawing sketchy images of a person in motion), Games (“Mirror” - an outdoor game with a sketch of the shown movements, “A charging complex for a bear cub” - an image of exercise schemes, etc.). Special didactic aids, “Wire men”, which are easily bent and used to show movements, sketch them, etc.

Means of expressiveness of a portrait Schemes, demonstration of drawing methods, test sheets, “magic boards” for exercises in depicting the movements of eyebrows, eyes, lips. Drawing plot pictures, “revitalization” of portraits of fairy-tale characters under invisibility caps, “make-up” of faces, etc.

Means of expressiveness of a portrait A person's costume as a means of expressiveness of a portrait (children receive elementary knowledge about the features of clothing, hats, shoes). While experimenting with costume selection, children try out the role of a fashion designer by drawing and dressing up mannequins, or by using ready-made images of people.

Didactic games “Portraits of colored men” - determining the character of a person by color, “Color picture” - matching colors to different images etc.), game exercises with coloring (“Convey the disturbing character in the drawing depicting Cinderella running from the palace”, “Peace and sadness in the drawing depicting the Sleeping Beauty”, etc.). Introducing children to the expressiveness and character of lines, they offer the following tasks: “Recognize a portrait from a linear drawing”, “Assemble an image from lines”, “Disenchant the figures”, etc.

Transferring the features of the image The task is to convey not only the external similarity, but also the inner world of a person, expressing one's attitude to the person being portrayed. The theme is portraits of close people - mom and dad. Children learn to convey the gender differences of a man and a woman, expressed in facial features, hairstyle, physique, costume, character, etc.

Conclusion Children not only learn to portray a person, but also reflect their aesthetic attitude to the world around them, showing their creativity and imagination.

Kuznetsova Olga Vladimirovna

Target: acquaintance children with one of the genres of painting (portrait) ; consolidate knowledge about the profession "painter"; to form in children a positive emotional response to the works of fine art; to cultivate respect for the work of the artist; enrich children's vocabulary « portraitist» ).

preliminary work: looking at illustrations, children's work in the art studio, cutting loto "Professions"; di "Who needs what to work", "Guess the Mood"; conversations with children about the work of adults; guessing riddles; reading N. Nosov's story "Adventures of the Dunno".

Equipment: two easels, toy "Queen - tassel", markers, small unfinished girl portraits(according to the number of children, a beautiful box (package, large envelope, reproductions portraits of artists. Repin, B. Kustodieva, palette, paints, pencils, sheet of paper, brush.

Lesson progress:

(Children are sitting on chairs, there is a knock on the door, a doll appears - a brush with a beautiful box and a large envelope)

Doll: Hello guys! You recognized me? I - "Queen Tassel"- the most important over all brushes.

Play: Tassel, why are you so cheerful today?

Doll: I went to art gallery (museum). There's a lot beautiful pictures. I really liked them, so I'm so cheerful and satisfied.

What is your mood today? (Good, funny) Smile, stretch!

On the way to visit you, I went to the post office and brought this parcel (nice box) and an envelope. Curious to see what's in there?

But first guess mine riddle:

I have a pencil

colorful gouache,

watercolor, palette, brush

And a thick sheet of paper

And a tripod easel

Because I…. (painter)

Well done, you got it right! So tell me please, who is the artist? (A person who paints pictures).

Now let's see what's in this package.

(In turn, the teacher takes out from the parcel items: sheet of paper, brush, pencils, paints, palette, children name them)

Who needs all these items? (for the artist)

Where do you guys think the artists keep their paintings? (in the museum, art galleries)

That's right, the museum then makes exhibitions of paintings. You can go there and look at them.

Since you are so good at solving riddles, try again once:

In a painted picture

This is the main face.

Maybe dad or mom

Maybe grandpa and me

Painted in a painting

Maybe my whole family.

It's easy to guess here.

There is no uncertainty

What a beautiful picture

It's called…. (portrait)

Correctly. A portrait is such a picture, on which the artist draws a person's face or depicts him in full growth. The artist conveys the features of a person, his character. Such pictures are called « portraits» , and the artists who draw them are called "artists- portrait painters» .

(Children get up and go to the easel)

Doll: And now it's time to see what's in this big envelope.

(The teacher takes out of it alternately reproductions of paintings and hangs them on an easel)

Look guys at this portrait of a girl. It was painted by the artist Boris Kustodiev. On this portrait he portrayed his daughter, whose name is Irinka. Do you like her? (Yes)

What did you like about the girl? (She's beautiful)

See which one is shown on the artist's portrait of his daughter, why?

What is Irinka wearing? What is in her hands?

Where do you think the girl might go?

Who else is in the picture? (dog). Her name is Shumka.

Looking at this portrait try to find words that will tell about Irinka. What is she? (Beautiful, small, cheerful, smiling, smart).

In the next picture, which was painted by the artist Ilya Repin, a girl is also drawn - his daughter, whose name is Nadia.

Which artist painted it?

Why can she be so sad, what could have happened to her? (Sick, sad, waiting for mom, tired.)

What words can you pick up for Nadia, drawn on this portrait? (Sick, sad, thoughtful, tired.)

Tell the guys, and these two girls, drawn on these portraits are similar?

What guys, you are great! Perhaps you are tired? Now we will play with you.

(Children go to the middle of the group)

Physical education minute "Young Wizards"

Rise up, stretch

Two - bend, unbend.

Three - in the hands of three claps,

Three head nods.

Four - arms wider,

Five - wave your hands,

Six - sit down quietly.

Let's draw together

And create pictures.

Play: Guys, who creates the paintings? (painters).

Look, is there anything else in the envelope? (Pulls out small unfinished portraits) . What's this? What is the name of the painting in which the artist paints only the face? (portrait) .

To finish these portraits, we need to turn into real artists. For this you have to say "magic words":

(Children cover their eyes with their hands)

One, two, three - spin

And become artists.

(children sit at the tables, draw a face on portrait)

Play: Now our portraits are ready. We have a whole art gallery.

brush do you like portraits that the guys drew?

tassel: Yes. They are wonderful. I liked you so much that I decided to stay in your group.

Play: Stay brush, you will be interested in us. And now guys, let's invite all the guests to our exhibition, but for this we need to turn from artists back into guys.

(Children close their eyes)

One, two, three - spin

And turn into a kid.

(Guests with children are considering portraits)

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