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In the Renaissance, the main attention was paid to solving purely compositional problems, building space and placing figures in it. Color was given secondary importance. It was, as it were, predetermined and obeyed the drawing. For example, in the Adoration of the Christ Child by Mariotto Albertinelli and Fra Bartolomeo Fra Bartolomeo Adoration of the Christ Child, Villa Borghese, Rome. the placement of the main color spots of the first plan is the same. Slight differences in color saturation appear only due to the use of Mariotto mixed media. Tempera makes it possible to make the light spot more localized and saturated. Therefore, the yellow cloak of Joseph stands out so. In Fra Bartolomeo, who painted in oils, the color is more subdued and complex.

The iconographic conditionality of color in the attire of characters, such as Mary, is also preserved. In all three works, the Madonna is dressed in a blue cloak and a red dress. Filippino Lippi decides the color according to the canon. Piero di Cosimo depicts a cloak with rather strong reflections of green and blue, penetrating each other so that it is rather difficult to establish its main color. Albertinelli brings a slight change to his work. He solves Mary's maforium in two colors: blue and green. Thus, the main color differences are mainly due to the use of different painting techniques. Color was used as "the illumination of the drawing. For all its significance, it did not solve anything in the picture, only enhancing the expressiveness of the drawing" N.N. Volkov Color in painting - M: Art, 1984, pp. 194-195.

The coloring of "The Adoration of the Christ Child" by Filippino Lippi is based on a combination of greenish and pearl gray tones. The basis of the color rhythm is the blue and red verticals of the clothes of the figures of angels, and of Mary, which give a sonorous "musical" sound to the whole composition. The artist immerses them in a greenish-olive haze of the landscape. Its saturation gradually weakens, approaching the horizon line. So, at the lower edge of the work there is a dark green, almost black, color of grass, on which yellow stems are drawn with a thin brush. Bushes and trees are painted in the same tone, looking like silhouettes against a light blue background of the sky or gentle slopes. Filippino almost does not use the richness of the ocher scale, so beloved by his contemporaries. He uses its cold shades in solving the faces and palms of the hands, the robes of the soaring angels and in modeling the naked body of a baby. Brownish ocher paints hair and completely transparent wings. In the solution of the parapet, Filippino Lippi adds white and muted yellow to the ocher. But all colors are subordinate to green shades, which determine the overall color scheme.

It is rather difficult to judge the coloristic decision of Piero di Cosimo's "Adoration of the Christ Child", since today the work is not represented in the museum's permanent exhibition. There are no color reproductions of the Hermitage tondo that would make it possible to speak of its colorful design. However, there are good reproductions of the "Adoration of the Christ Child", which is in the collection of the Borghese Gallery, which is an analogue of the Hermitage, only written somewhat drier and heavily damaged by the restoration of Z. Borisov Borghese Gallery. National Gallery - M: Visual Arts, 1971, p17. . It is only on the basis of this material that the coloring of the Hermitage work can be considered. Piero di Cosimo solves the tondo in warm colors. The lightest spot is a light blue, almost white, veil, which echoes the image of a dove and inserts on the sleeves of Mary's robe. The naked figure of the infant Christ also creates the impression of a soft glow, but already warmer in tone. A little further is the image of John the Baptist in an ocher sackcloth. Piero di Cosimo shows interest in the naked body. It is no coincidence that the artist shows the legs of the angels uncovered, almost to the middle of the thigh, while Lippi and Albertinelli “dress” the angels in long robes, leaving only the palms of the hands and feet open. The color solution is based on the dominance of three primary colors: red, blue and yellow, which form the basis of the palette of any artist. In its pure form, it is presented by Mariotto Albertinelli. In The Adoration of the Christ Child, Piero di Cosimo does not use green in its purest form, since it is a derivative of blue and yellow. For example, in the solution of the maforium of the figure of Mary, blue and green are mixed. It is quite difficult to determine which color was taken as the basis or chosen for the image of the reflections. This uncertainty probably symbolized the duality of the essence of Mary, her heavenly and earthly principles. The clothes of the angels are solved with open local spots of kraplak and blue. The combination of these two colors is repeated in the dress of the Madonna with the addition of warm shades in the interpretation of the illuminated areas of the folds. Perhaps, with such a decision, the artist wanted to emphasize the divine nature of Mary. Piero di Cosimo introduces between the figures an image of a doorway in which an azure firmament is visible. Unlike Mariotto Albertinelli, the artist refuses to use local spots of yellow in a general color scheme. He fills the work with various shades of ocher, using them in the interpretation of naked bodies, the pillow on which Christ rests, the sackcloth of John the Baptist and the background landscape. He decides the details of the interior in reddish-brown tones, reaching black in some darkened parts of the walls. Compared with the works of Filippino Lippi and Mariotto Albertinelli, the painting of Piero di Cosimo is the most rich in shades. This is achieved through the oil technique, which is used in its purest form by the artist.

The coloring of the "Adoration of the Christ Child" by Mariotto Albertinelli is based on a combination of three primary colors. The brightest spot of the whole work is the yellow robe of Joseph. The artist is trying to balance this color with a light stripe on the ground, solved less locally and saturated. The blue robe of Joseph in the upper part looks contrasting. It echoes the inside of Mary's cloak, and the veil on which the baby lies. The blue color of the foreground, like an echo, is repeated, becoming more transparent in the image of the hills and the sky. The outer part of the maforium of the Madonna of a neutral dark bluish-green color is consistent with the transparent hills painted in a single layer of the same tone in the background. Two more accents that balance each other are the red inside of Joseph's cloak and Mary's scarlet dress. Mariotto Albertinelli introduces a small patch of kraplak into the solution of the translucent drapery of a distant figure sitting on the steps, which is located between the Madonna and Joseph. However, in the coloring of the work, the predominance of brown and ocher is noticeable. Architecture occupies a significant place in the space of the work. It is depicted in brown ocher monochrome. Volumetricity is achieved by increasing the number of layers in the shadows and decreasing, to transparency in the light. In the details of the steps and at the base of the columns, the painting is so thin that dark lines can be seen. pencil drawing. The distant figures are also painted in brown ocher. Written more densely with the addition of white and blue, they retain transparency. Combining the techniques of oil and tempera painting, Albertinelli uses two methods of transferring shadows. The first is the so-called "colored shadows". Subsequently, they would be used by Michelangelo in Sistine Chapel Michelangelo's murals in the Sistine Chapel in the Vatican were created between 1508-1512. and in the picturesque tondo "Holy Family" by Michelangelo "Holy Family", the so-called Doni Medallion, 1504, Uffizi, Florence. . This method is most clearly presented in the interpretation of folds. yellow raincoat Joseph, whose shadows are depicted in brick red. The upper part of his attire and the baby's veil are painted blue, fading almost to pinkish-white. Albertinelli used a similar technique in the triptych "Annunciation", "Nativity" and "Entrance into the Temple". Mariotto Albertinelli "Annunciation", "Nativity" and "Entrance into the Temple", Uffizi, Florence. This method was associated with the peculiarities of tempera painting. Subsequently, the reception of "colored shadows" will be applied by PontormoJacopo Carucci, nicknamed Pontormo "The Supper at Emmaus", 1525, Uffizi, Florence. and Andrea del Sarto Andrea del Sarto "St. Michael, St. John Gualberto, St. John the Baptist, St. Bernard degli Uberti, Uffizi, Florence. - disciples of Mariotto Albertinelli.

Another way is to "thicken" the color in the shadows. A similar technique was used mainly in oil painting. This is how the dress of Mary is interpreted. The receding slopes are transparent, as if painted in watercolor, the color gradually becomes less saturated. The most delicate transitions from dark green with the addition of ocher through lighter ones with blue shadows to light blue, so transparent that the ground is visible. A similar technique is repeated in the writing of the firmament. It should be noted the virtuosity of the artist in the depiction of naked parts of the body. Mariotto Albertinelli interprets Mary's delicate, porcelain-like skin with pink reflections from a red dress on her hands and face in different ways. The figure of a naked baby is solved in a warmer range, based on the gradations of ochre. Joseph's skin is the darkest, with the addition of umber in the shadows. The figures are located on a dark brown, almost black surface of the earth.

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MINISTRY OF EDUCATION AND SCIENCE OF RUSSIA

Federal state budgetary educationalinstitution of higher education "Bashkir State Pedagogical University named after I.I. M Akmulla"

Course work

“Solving color problems in the process of working on picturesque scenery elementary school students"

INTRODUCTION

CHAPTER 1. THEORETICAL FOUNDATIONS ON THE SPATIAL PICTURE OF THE WORLD

1.1 Theory of space transmission in paintings

1.2 Psychological foundations of artistic perception of works of fine art by children

CHAPTER 2. PROGRESS OF WORK ON THE ARTISTIC AND CREATIVE PART OF THE COURSE WORK

2.1 Choice of theme and creative search

2.2 Stages of implementation creative work

CHAPTER 3. METHODOLOGICAL PART

3.1 Lesson summary: Summer landscape

CONCLUSION

LIST OF USED SOURCES

INTRODUCTION

Art develops in a person the universal human ability to creatively transform the world in any activity. In this term paper, an example of observation is a landscape. The landscape, as a direct response of the human soul, a reflection of his inner world, is a means in the process of forming an aesthetic attitude to the surrounding reality. In order for a person, peering into a work of landscape painting, to be imbued with a sense of the opportunity to learn knowledge about life, understanding and love for the world, skills in transferring space are needed.

Space is one of the forms (along with time) of the existence of an infinite and constantly evolving world. Space is characterized by its length, volume, structure, which are understood in different ways, depending on the concepts emerging in the exact sciences (physics, mathematics), philosophy, religion, and art. In this environment, things and people can be cramped and spacious, cozy and deserted. In it one can see life or only its abstract image.

Relevance of the study: in In the visual arts, the transmission of space is a very important means by which artists influence the viewer in a certain way. Children's vision is very different from ours. He snatches out of reality only what seems important to him, which helps him explain what is happening around him, while ignoring much else. He tends to exaggerate the significance of some phenomena that seem important to him, although for adults they may not be of any interest. On the other hand, one may completely lose sight of what key value for adults.

We perceive through a special experience - spatial memory. In visual activity, this experience determines both the general feature and the type of spatial and plastic synthesis in the picture. We perceive the plasticity of an object depicted on a plane and three-dimensional space differently than real space.

Even in the absence of an image, the plane becomes spatially inhomogeneous for the artist's eye. Already due to one fact of picture limitation, it becomes deepened to the center of the field and gravitationally inhomogeneous. Meanwhile, perceiving a flat field as such, regardless of the frame restrictions, we do not see in it the depth and distinguishable meaning of top and bottom.

One cannot depict one space, a space for nothing. The image of space depends on the image of objects. The space in the image is often built by objects, their arrangement, their forms (two-dimensional or plastic), and the nature of the form transfer, and is always built for objects.

A system based on visual perception for the transmission of distant objects, including softening of outlines, attenuated image. An object, an image that is more or less similar (but not identical) to the depicted object. Similarity is achieved due to the physical laws of obtaining an image (for example, an optical image) or the result of the work of the creator of the image (for example, drawing, painting, sculpture, stage ...

Read more >> details, decrease in color brightness One of the properties of objects of the material world, perceived as a conscious visual sensation. This or that color is "assigned" by a person to objects in the process of their visual perception. Various number vibrations of light waves of a given light source are perceived by our eye in the form of certain sensations, which we call ...

Read more >> and other tricks. The regular change in the colors and tones of objects, also due to the distances between objects and the observer, or rather, the thickness of the air layer, is called tonal or air perspective.

Read more >>(from latin perspicio - see clearly)

A system for displaying bodies with volume on a plane or some other surface, taking into account their spatial structure and the distance of their individual parts from the observer. The emergence of the concept of perspective is associated with the development ...

Read more >>. Changing tones

Read more >>(from the Greek tonos - tension, raising the voice, stress)

1) One of the main characteristics of a color, along with saturation and lightness, which determines its hue in relation to the main color of the spectrum and is expressed by the words "blue", "purple", "brown", etc.; color differences...

Read more >> in the distance is caused, therefore, by the air environment and is especially noticeable in cases where the air is saturated with moisture, dust, fumes, etc.

Air is not a completely transparent medium, and the farther the figures and objects are from the point of observation, or the thicker the air layer, the less clearly these objects are visible. And the brighter the air is illuminated, the brighter the distances seem, since the brightness of the distant objects is superimposed by the brightness of the air environment.

Purpose of the study: helping students understand knowledge about the spatial picture of the world and in the formation of skills to convey space through landscape painting.

In accordance with the set goal, the work is expected to achieve the following tasks:

knowledge about the patterns of construction art form, features of its perception and implementation;

knowledge of ways to transfer space, the laws of linear perspective, balance, planning;

the ability to convey mood, state in the coloristic solution of the landscape;

the ability to apply the formed skills in subjects: drawing, painting, composition;

the ability to combine different types of studies, sketches in the work on compositional sketches;

skills of perception of nature in the natural environment;

skills of transferring light-air perspective;

skills in the technique of working on a sketch with a detailed study of the details.

Object of study: transmission of a spatial picture of the world in the classroom of fine arts.

Subject of study: landscape

The following were used in the work. methods:

ICT technologies;

visibility;

Theoretical analysis of literature;

Creative work.

The practical significance of the work lies in the fact that course work can be used by teachers of fine arts in secondary schools, both during lessons and in circle activities.

CHAPTER 1.THEORETICAL FOUNDATIONS ON THE SPATIAL PICTURE OF THE WORLD

1.1 TTheory of transferring space in paintings

Among the compositional tasks required in painting or drawing, the task of constructing space is one of the most important. As is known, a person's perception of space is associated with the following patterns of aerial perspective: the clarity and clarity of the outlines of objects is lost as they move away from the observer's eye; at the same time, the saturation of colors decreases, which in the distance lose their brightness; contrasts (from French contraste - opposite)

1) Significant or noticeable difference, not necessarily quantifiable (e.g. "contrast of impressions").

2) In the visual arts - a pronounced opposition: for example, contrasting ...

Read more >> chiaroscuro (in English and Italian chiaroscuro, in French clair-obscur, in German hell-dunkel)

The distribution of light and dark zones on an object, determined by the shape and texture of its surface, lighting, and allowing visual perception of volume and relief. In painting and graphics, chiaroscuro is the distribution of various ...

Read more >> soften in depth; glare and reflections gradually fade away; depth, the distances seem lighter than the foreground.

In accordance with these vital patterns, we evaluate distances: figures and objects that are known to have the same contour and volumetric shape and the same colors seem to be the farther away, the more their contours blur 1) In geometry, the border of a flat figure. Example: A chord of a polygon is a segment whose ends belong to the contour of the polygon, and it belongs entirely to the polygon, including the contour.

2) In electrical engineering, a closed electrical circuit designed to perform a certain function. Example: When...

Read more >> the less clearly they are distinguished by the eye, the less saturated their colors are. Figures, contrasting, clear, dark, come to the fore.

The influence of air is expressed by the blue color inherent in the ether. In a thin clean layer, the air is transparent and colorless, but with increasing distance and with a corresponding thickening of the layers of air, objects receive a more or less distinct admixture of blue color, which weakens their own color and blurs their outlines. At the same time, the blue is the cleaner and clearer, the more transparent and cleaner the air itself. An example is the dark azure of the Italian or African sky, the blue outlines of mountains and distant forests, and finally the blue of the seas, lakes, rivers, etc. If the air is saturated with moisture (in fog or cloudy weather), then the sky seems milky gray. One of the properties of the objects of the material world, perceived as a conscious visual sensation. This or that color is "assigned" by a person to objects in the process of their visual perception. A different number of vibrations of light waves of a given light source is perceived by our eye in the form of certain sensations, which we call ...

Read more >>, light objects have a yellowish and reddish tint, and dark ones - purple, gray and indefinite, colorless; at the same time, the protruding edges soften their outline, the recesses lose some of their former sharpness, and the overall contour takes on a less defined shape.

Sometimes aerial perspective is called fog. Distant objects appear hazy (approaching light gray in color) due to fumes, smoke, and other atmospheric effects. The aerial perspective should enhance the sense of distance created by the linear perspective.

aerial perspective (from latin perspicio - see clearly)

Read more >> varies depending on weather conditions, terrain and, of course, the desire of the artist. Aerial perspective serves as an indication of distance. However, it has other equally important functions. It helps to draw attention to the foreground, as objects are sharper and more contrasted here than in the background. With its help, you can create a feeling of a vague, half-asleep perception, where mood prevails over details. This technique was well mastered by the Impressionists.

Attempts to convey an aerial perspective are already observed in medieval Chinese landscapes, only their own theoretical background method received in the XVI century in the works of Leonardo da Vinci. This technique was widely used in the Dutch landscape of the 17th century and especially in the 19th century in the works of the Impressionists.

The first studies of the patterns of aerial perspective are found in Leonardo da Vinci. “Things at a distance,” he wrote, “seem to you ambiguous and doubtful; do them with the same vagueness, otherwise they will appear in your picture at the same distance ... do not limit things that are distant from the eye, because at a distance not only these boundaries, but also parts of the bodies are imperceptible. The great artist noted that the distance of an object from the observer's eye is associated with a change in the color of the object. Therefore, in order to convey the depth of space in the picture, the closest objects must be depicted by the artist in their own colors, the distant ones acquire a bluish tint, “... and the very last objects visible in it (in the air - L.D.), such as mountains due to the large quantities of air between your eye and the mountain appear blue, almost the color of the air…”.

The inexhaustible diversity of nature contributed to the development of various types of landscape genre. There is a great variety of objects, landscape forms, each of the motifs is unique, unique in its own way. Nature can be called the book of wisdom. If you are trying to read this book, then you are trying to master the precious wealth contained in it. Nature teaches and educates us directly, daily and deeply. Ushinsky repeatedly noted the beneficial effect of nature on a person; he enthusiastically wrote: "ovulation, but open space, nature, beautiful surroundings of the town, these spiritual ravines and coming out of poplars, pink spring and gold autumn Were they not our teachers? Call me a barbarian of pedagogy, but from the impressions of my life I have taken a deep conviction that beautiful landscapes have a huge educational influence on the development of a young soul, with which it is difficult to compete with the influence of a teacher.

Aerial perspective - is called the apparent changes in some features of an object under the influence of the air environment and space. The transparent medium is air. But the transparency of the air is not always constant. With an increase in the thickness of the air layer, the number of dust particles, pressure and other things increases. The subject changes appearance due to the size of the enveloping layer. Also, along with this, one should take into account: the external shape, time of day, illumination of the sun, season.

It is known that the visibility of an object is determined by the size of its image on the retina. The closer the object, the greater the value of its angular size, the greater the size of its image on the retina. This means that it, being distributed over many light-sensitive cells of the retina and irritating them, gives more information about the shape of the object, which ensures its best visibility. On the contrary, the farther the object is from the observer, the smaller the value of its angular size, the less information about the object, which does not provide good visibility of it. And indeed, all objects close to the observer are perceived with exhaustive completeness, and then not fully generalized.

This implies the conclusion that the image of spatial depth, located at a considerable distance from each other, require the solution of a variety of problems. Depicting objects in the foreground, a more accurate detailed drawing is required, which reflects the characteristics of each object, its small and large parts and the transfer of a large form in which all small details are combined and coordinated. In the background, the details are less prescribed, the overall shape, volume, light and shadow are formed. In the background, objects are schematized, transmitted through a common contour, light and shadow. And all of the above can be determined by the laws of aerial perspective:

1. All nearby objects are perceived in detail, clearly, and distant ones, on the contrary, are generalized, indefinitely; for the image of space, the contours in the foreground are made sharper, and in the background softer.

2. In the foreground, objects seem more voluminous, have more contrasting chiaroscuro, and in the background, chiaroscuro seems to be more weakly expressed, objects are flatter; to convey space in the foreground, objects must be depicted more voluminously, and in the far more flat.

3. In the background, all objects seem darker, as if covered with an air haze and this haze changes their true light, while in the foreground everything looks natural.

In the foreground, all objects have a multi-color palette, and in the far one, they are more monochromatic; to convey the front edge, objects must be depicted with different colors of paints, and distant ones with the same.

The laws of aerial perspective help to competently, correctly depict space. But in order to draw the most realistic landscape, one must master the techniques and means of depicting natural forms, ways of conveying various states of nature. The elements of the landscape are the earth. vegetation cover, water, sky, air and light. From the beginning, the painter must show the surface of the earth, then on it, depending on the plot, vegetation, or water, sky, air. And all this is depicted taking into account the time of year, day, space.

Types of picturesque landscape:


The original landscape is forests, fields, meadows, rivers, lakes, seas (forest landscape, mountain, sea)	I.I. Shishkin
The rural landscape is a village life and its natural connection with the environment.	"Noon. Around Moscow" I.I. Shishkin
The urban landscape is a man-made spatial environment(buildings, streets, avenues, squares, embankments and parks)	"Red Square in Moscow" F.Ya. Alekseev
The industrial landscape is a landscape that defines a person as the creator and builder of factories, factories, bridges, etc.	"Industrial Landscape" E. Anikonov
Historical landscape - an image of the area in a certain era of time	"Pilgrimage to the Island of Cythera" Antoine Watteau
Lyrical landscape - reflects certain feelings of a person - admiration, pleasure, tranquility, enjoyment of the beauty of nature	Name I.K. Aivazovsky
Romantic landscape - evokes bright, strong, passionate feelings	"View of the Kremlin from the Crimean bridge in inclement weather" A.K. Savrasov
The epic landscape conveys majestic images of nature, full of inner strength. Heroic landscape - nature appears majestic, solemn	"Snow Storm During Hannibal's Crossing" William Turner
Dramatic landscape - causes a feeling of anxiety and anxiety	I.K. Aivazovsky

It is worth noting the emergence of a new type of landscape - cosmic or fantastic.

Landscapes can be distinguished by the technique of execution, there are generalized laconic and detailed, which means they are more detailed, one might say decorative.

The work begins to act on us in full force when you feel the poetry of the picture, the artistic musicality of the content. You can penetrate the meaning of an idea if you understand the language of art.

1.2 Psychological foundations of artistic perception of works of fine art by children

The value of any work of fine art lies in the artist's reflection of his inner world, attitude to the environment, in emotionality and expressiveness. The sooner we develop the emotional-sensual world of the child, the brighter he himself and the products of his creativity will be.

In childhood, the development of figurative forms of cognition of the world around us - perception, imagination, figurative thinking - is of particular importance. The task of the teacher is to develop interest in the fine arts and the need for it.

Drawing classes contribute to the development of the sensory apparatus of a small child. After all, children's age is most favorable for improving the work of the senses, the accumulation of information about the qualitative diversity of the surrounding world.

The activity of children in the visual arts has long attracted the attention of researchers as a possible method for studying the internal state. little man, his ability to reflect the picture of the world, the world of his experiences. The use of drawing techniques for the study of the child's personality is important. It has become widespread both in our country and abroad. The works of A.V. Clark, M. Lindstrom, G. Kershensteiner, E.Kh. Knudsen.

O.I. Galkina, E.I. Ignatiev, I.P. Sakulina G.V. Labunskaya, Z.V. Denisova, L.N. Bochernikova, V.S. Mukhin.

Analyzing children's works, many authors pay attention to how they convey the reality surrounding the child and what personal meaning is invested in it. Researchers of children's drawings emphasize what is depicted in it, and, in essence, does not differ from a verbal story. Actually, this is a story, made in a figurative form, which must be able to read.

Thus, we can say that the visual activity of children has been studied quite extensively by now. For example:

by the end of the 3rd year of life, the baby shows great interest in visual activity, understands that in the drawing he can embody any content. Under the condition of the systematic use of pictorial material, under the guidance of an adult, he masters the elementary technique of working with a pencil, brush, paints, clay, actions with the material are quite free, bold and confident. He boldly and independently draws, sculpts whatever he wants, being sure that he does it perfectly. Such a feeling of the baby must be supported and developed in every possible way. This is an important condition for the formation of greater independence, a prerequisite for the child's creative manifestations in visual activity.

Despite the extreme imperfection of his drawings, the child already in this period boldly takes on the transfer of the most difficult objects to paper: his favorite themes of "art" are people and animals. Of the objects that are simple in form, he stops almost exclusively on houses. Such things as a cup, a glass, a cupboard, a flower, even a tree are comparatively rarely a source of his inspiration, or rather, only when they are somehow connected with "favorite" topics. In his selection, therefore, he is guided not by the simplicity of the object, but by the moment that at that time causes the greatest interest in him everywhere - movement (the dynamism of a child's drawing). Even a house, something undeniably static, is endowed with a certain dynamic feature: smoke always pours out of its chimney.

Various authors contribute to the development of drawing techniques on a given topic, which become a very powerful psychodiagnostic tool. Despite the differences in the schemes of interpretation, variations in procedures, it is possible to conditionally distinguish the main parameters of the interpretation of the family drawing: a) the structure of the family drawing; b) features of the drawn family members; c) the drawing process.

Interpretation of the structure of the family drawing (location of figures, comparison of the composition of the drawn and real family). Having received the instruction "draw your family", the child not only solves a creative problem, but first of all structures an imaginary social situation in a certain way. It is believed that such a task provides the child with an opportunity to express his feelings for other family members, a subjective assessment of his own place in the family. These psychological parameters are reflected in the characteristics of the family structure and, therefore, can be identified by a specialist. This approach is based on the hypothesis that the structure of the family pattern is not random, but is associated with experienced and perceived intra-family relationships. Features of graphic presentations of family members express the child's feelings for them, how the child perceives them, which characteristics of family members are more significant for him, which cause anxiety.

The most famous test of F. Goodenough "Draw a man" as a method for diagnosing intelligence is also popular in the world psychodiagnostic practice. This technique is widely used as a component comprehensive survey child. It is important to emphasize that despite the repeatedly confirmed high reliability of the test, most experts believe that the test has almost no independent diagnostic value. It is unacceptable to be limited to one given test when examining a child; The test may be part of a survey.
Since most preschoolers and younger students love to draw, these tests can help establish contact with the child and establish the cooperation needed to conduct an examination using more sophisticated diagnostic techniques.

Being one of the important types of children's activity, drawing not only expresses certain results of the child's mental development, but also ensures this development itself, leads to the enrichment and restructuring of mental properties and abilities. Making art from self-doubt - because they show that everyone can calmly express their point of view and that they will want to understand. And also from excessive self-confidence, as it becomes clear how much work must be invested in successful work. During class fine arts there is a release of the accumulated creative energy, self-realization through the embodiment in the artistic work of the movements of the soul. This is the therapy of visual activity, which balances the mind and feelings, restores emotional balance.

In the early work of children, the happiness that art brings to children is expressed. At the same time, the purpose of children's creativity is to soften the storms of life. Therefore, it is necessary that in childhood there should be as much creative joy of life as possible, since it is a guarantee of future spiritual strength and balance.

CHAPTER 2PROGRESS OF WORK ON THE ARTISTIC AND CREATIVE PART OF THE COURSE WORK

2.1 Choice of theme and creative search

Painting, as one of the most expressive types of fine art on a plane, allows, allows you to convey more information about the author's idea, about his character, became the basis for the practical part of this term paper. This type of fine art was not chosen by chance, but taking into account the tasks and objectives of the study. As you know, the performance of paintings combines the ability not only to see the tone, find the color and use the brush, it also requires a certain experience in the implementation of a constructive drawing, which is important for the development of spatial thinking in students and which also allows for a broader analysis of their achievements. Picturesque works have the following qualities, they are: clear and understandable to the eye visual characteristics, such as brightness, color depth, persuasiveness of the image are well perceived by children, and therefore, they are more interested in them. Initially, the artist always plays the role of a researcher, psychologist, creator and destroyer of his own stereotypes regarding the object under study. He borrows an image from the outside world, and based on his own life experience, gives the image new life and character, using theoretical knowledge of artistic techniques.

The images of painting are very clear and convincing. Painting is capable of conveying volume and space, nature on a plane, revealing the complex world of human feelings and characters, embodying universal ideas, events of the historical past, mythological images and a flight of fancy.

The artist takes an image from reality, fills it with his feelings, enriches it with his imagination and, transforming it with specific means of a certain type of art, includes it in the work.

Transfer artwork to painting allow means of expression. The main means of expressiveness in painting are: color - color, pictorial consistency; drawing - an image of the forms of the objective world around us, their characteristic features; composition - the organization of the picture, drawing up, combining elements in it into a single whole, isolating the main thing. The overall impression, the sequence of perception of the work depends on the composition. These means of expression in any artistic picture are organically connected, inseparable, but in various genres painting, they can be used by the artist in different ways. One of these genres is still life.

The art teacher constantly has to use visual aids, no matter what training sessions he conducts. Whether it is drawing from nature, decorative or thematic drawing, conversations about art, he will always need natural material.

Work on the landscape compositiona

The work began with the search for a composition scheme. The selection of elements was carried out according to the specified theme.

Sketches of small formats were approved by the manager.

It should be noted that a lot of sketches were chosen, made in different colors, changing the lighting and color. When searching for a sketch, it is useful to strive for a specific content of the image already in small sizes, this gives greater confidence in working on the original.

Important in the work on the work is the choice of format. Its definition depends on the intention of the artist. Some conclusions can be drawn from the experience studied. It is generally accepted that the square format gives the impression of stability, static composition. The horizontally elongated format is used when depicting a wide panoramic space. The vertical format contributes to the impression of majestic solemnity, monumentality. But if the vertical is narrow, it gives some fragmentation.

At the same time, it is necessary to find a solution commensurate with the picture plane, try to balance and give a harmonious rhythm to the composition.

2.2 Stages of creative work

Preparing the canvas for work

While the preparatory work was carried out, the execution of sketches and sketches. At the same time, the canvas was being prepared for work. To do this, stretch the canvas on a stretcher, glue and primed.

Canvas stretched on a stretcher from the middle of each side to the corners. The first brackets, fixing the tension of the canvas, were punched in the center of each side of the stretcher opposite each other, and then the brackets were successively nailed from the center to the right and left, while stretching the canvas on themselves and to the corner of the stretcher.

Canvas primer involves two steps:

1) Sizing the canvas. There are many options for how to do this. Using the advice of the leader, the following option was chosen: the glue for this was prepared as follows. Soaked and swollen gelatin 10 gr. in half a glass of water is put on a slow fire. Gelatin should completely dissolve in water, but in no case should it be brought to a boil. The finished glue is allowed to cool slightly and then a thin layer is applied to the surface of the canvas with a wide bristle brush. Usually one sizing is enough and the canvas is dried for a day. Excessive overload of the canvas with glue leads to cracking of the ground and the painting layer. The pores that may remain after the first gluing are filled with a small brush, if in this case the canvas is not covered with a continuous film, it is glued a third time with a weak, 4-5% glue solution. Also, a few drops of glycerin are added to the glue for plasticity.

The canvas dried after gluing was processed with sandpaper. After the canvas has been checked for light, there should be no translucent holes on the canvas, you can proceed to the second stage.

2) Coating the glued canvas with primer. Many artists give the surface brown, cold gray, warm gray or other shades, it depends on the painting objectives. White was chosen for this work. The main problem at this stage is to choose the most acceptable soil from many different recipes. An emulsion primer was chosen. Gelatin, chalk, zinc white, linseed oil, which was added with vigorous stirring. Using a flute brush, the canvas was primed in three steps, drying each layer.

Work on the creative part

It should be noted that the stages of maintaining a picturesque landscape vary depending on the material, but the general principle approach remains as follows: artistic pictorial drawing canvas

Compositional-perspective organization of the sheet;

Constructive analysis of forms with the definition of the main tonal

Laying shadows and shadow depths of the background;

Determination of the main color relationships due to penumbra and

reflexes;

Identification of the volume of forms;

Refinement of planning and materiality

Initially, a pencil drawing was made based on searches and sketches of the final layout.

This was followed by the next stage of work on canvas - underpainting - tonal - color layout according to the selected sketch. During the first session, it was important to close the entire canvas and determine the tonal and color relationships on which the whole idea rested, to determine all the color rhythms.

At the next stage of oil work, when the basic tonal and color relationships are found, you can proceed to a more detailed study.

The shadow parts of the images remained filled with a thin layer of paint, while the light can be painted boldly, using a pasty brush. The first plan was worked out more carefully than the background (according to the laws of composition).

During the work, some difficulties arose: color solutions for some parts of the composition, highlighting the main thing and identifying plannedness.

The most basic and difficult of the stages of work was the final stage, namely: subordination of the particular to the general idea of the work, generalization, placement of accents, making the work complete. If at first the works were painted with a wide brush, large ratios, the final studies are done with small brushes, more carefully.

Creative work is somewhat different from educational work. In creative work, successful solutions to educational problems are used. At the same time, an attempt is made to follow object laws, use various techniques and means of artistic expression, and combine the sensual and the logical.

Registration of work

The problem of selecting a frame for a completed work comes down to choosing its width, the nature of the frame profile and its color.

Since when decorating the work, the frame slightly overlaps the image along the perimeter, it is somewhat written off in the corners, which helps to concentrate the viewer's attention on the objects of the image.

If we touch on some general rules for decorating works in a frame, the frame should not stand out with its color and decorative finish and distract the viewer from the picture that it frames. Usually, for the manufacture of frames, a baguette is used, which is a shaped bar, ornamented and covered with paint, varnish or stain. For manufacturing, dry, seasoned wood is taken, the bars from which are processed with a shaped planer, giving the workpiece an appropriate profile. Then the blanks are carefully sanded, glued on all sides several times, primed on the front side.

When gluing, the corners of the frame should fit snugly against each other so that there is no gap.

A frame of a simple profile, 4 cm wide, was made for the landscape. This is dictated by the fact that large forms and large color spots dominate in the work. The color of the frame was supposed to emphasize the calm mood of the image, so light colors and matte varnish were used for tinting.

CHAPTER 3. METHODOLOGICAL PART

3.1 Lesson summary: Summer Landscape

Explanatory note to the lesson of fine arts

Topic of the lesson: The beauty of native nature in the work of Russian artists. Drawing "Summer landscape"

Class: 5

Purpose of the lesson: to form the skills to carry out a pictorial description of summer nature, using the laws on the transfer of space. Lesson objectives:

Educational: to introduce students to the types of landscapes, the work of Russian artists; improve the skills of reflection in the thematic drawing natural phenomena and transfer of space; consolidation of students' knowledge about the laws of drawing; enrich vocabulary;

Developing: develop creative activity; artistic imagination and taste; to develop skills in working with art materials;

Educational: to cultivate love for nature; form an aesthetic attitude to works of art.

Lesson type: combined

Teaching methods: explanatory-illustrative, verbal, visual, practical, reproductive.

Equipment:
a) for the teacher: screen, video projector, computer; watercolor paper, brushes, watercolor, pencils, a glass of water;

b) for students: watercolor paper, pencils, eraser, brushes, watercolor, palette, glass of water.

Technology: health-supporting technologies (physical minute); information and communication technology (computer presentation); technologies of activity thinking; problem learning technologies.

Visual range: landscapes by Russian artists in the form of a Microsoft PowerPoint presentation

Music line:"Seasons" P.I. Tchaikovsky and A.Vivaldi

Lesson plan:

1. Organizational stage: greeting and setting the children up for the lesson.

2. Main stage:

1) Introductory conversation;

2) Actualization of knowledge, definition of the topic and setting the goal of the lesson;

3) Studying the topic and demonstrating the sequence of work on the drawing;

4) Fizminutka;

5) Practical work(independent work of children).

3. Reflection: analysis of works.

4. The result of the lesson: cleaning the workplace


1. Organizational stage	Greetings The cheerful bell rang Is everyone ready? All is ready? We don't rest now. We are starting to work. Check readiness for the lesson.
2. Main stage 1) Introductory talk	Guys, what is creativity for you? And for me creativity is a source of kindness, truth and beauty. Let's sit back and smile at each other. Take a deep breath and exhale... breathe out your hurts and worries. Breathe in the beauty of a spring morning, the warmth of the sun, the blue of the morning sky and the freshness of the spring air... and let it all warm your heart. And if you put your soul and heart into your work, then it will turn out beautiful, like this spring day!
2) Actualization of knowledge, definition of the topic and setting the goal of the lesson	Look closely at the board. It presents various reproductions of paintings. Can you tell me if they can be divided into groups? 1 - portraits; 2 - still lifes; 3 - views of nature. That's right, but what do we call such pictures? (Landscapes) What do you think we will do today. (Let's get acquainted with the genre of landscape) What name would you give our lesson? (Painting-landscape) And who will tell me what a landscape is? Dictionary of S. Ozhegov: "Landscape drawing, a picture depicting views of nature, as well as a description of nature in a literary work." If you see in the picture If you see in the picture The river is drawn picturesque valleys And dense forests Blond birches Or old strong oak, Or a blizzard, or a downpour, Or a sunny day. Could be drawn Either north or south. And any time of the year We will see in the picture. Let's say without hesitation: It's called landscape! So, LANDSCAPE is a genre of fine art in which various parts of nature are depicted.
3) Studying the topic and demonstrating the sequence of work on the drawing	Genre - landscape As an independent genre, landscape painting did not develop immediately. At first, the landscape was the background for portraits or for historical scenes. Only in the 16th and 17th centuries landscape became an independent genre of fine art. Beautiful landscapes were created in the 19th century. Does anyone know what landscape painters are called? (Landscape painter) Landscapes by Russian artists Guys, can you name the landscape painters for me? (This is Levitan, Shishkin, Savrasov, Kuiji) Right. landscape painter conveys in the picture the image of nature, its beauty, his attitude towards it, his mood: joyful and bright, sad and disturbing. Only artists are inspired by nature to create? Give your examples. (Musicians, poets, writers, sculptors...) Have you observed nature? Did you notice her beauty and mood? Let's guys look at the paintings of the great masters of the landscape genre and learn from them in the image of spring nature, with its pristine beauty. Examination of paintings by artists. Savrasov A.K. "The rooks have arrived" is early spring. The birch trees are still bare, there are many rook nests on their branches. The birds have already returned and are fussing around their homes. Snow is still visible on the fields in the distance. But the color of the sky and gently blue clouds convey the freshness and transparency of the spring air. Levitan I. "March" - the nature in the picture does not seem to have woken up from its winter sleep. Branches of birches in the blue sky shimmer with different colors. A birdhouse on a birch is waiting for the arrival of birds. There are still snowdrifts, but everything around is filled with sunlight. Can we say that the artists saw spring in the same way? (No. Everyone has his own vision of spring), It would seem that one season, and the artists saw it differently, each conveyed his mood, one - sadness and sadness, and the other - a smile and joy. The main types of landscapes Look at the pictures, how are they similar and how are they different? (These are landscapes. Different places are depicted: village, city, sea) Right. Landscapes are different types: Rural (fields, forests, village houses are drawn) Urban (image of various streets, views of the city, houses.) Marine (views of the sea are drawn), it is also called a marine painter, and artists are marine painters. To paint a landscape, the artist needs to know the rules of perspective when depicting nature in order to make the landscape believable. Now we will remember them (Slide). Repetition of the order of work on the landscape: 1. Choice of a corner of nature. The work is done from nature or by representation. 2. Work begins with a pencil sketch. 3. Divide the plane of the sheet into 2 parts: heaven and earth. 4. We use 2 laws: linear and aerial perspective. What important laws of perspective will you use? Parallel lines, moving away from us, gradually approach each other and, in the end, converge at one point on the horizon line. Aerial perspective: The closer the subject, the more details; when removed, the details of the subject are less visible. Close objects are depicted as brightly colored, and distant objects are pale. The closer the clouds are to the horizon line, the smaller they are. The farther from the horizon line, the larger they are. What colors will you use when creating a summer landscape?
4. Physical Minute	We drew today Our fingers are tired. (active flexion and extension of the fingers) Let them rest a little Start drawing again. (shake hands in front of you) Let's take our elbows together Let's start drawing again. (bring your elbows back vigorously)
5) Practical work	Well, guys, you have learned the basic rules for building a landscape, and now it's time to start creating your landscape. I want to invite you to try your hand at creating your own summer landscape painting of different types of landscape. Divide into groups and choose one of the types: rural, urban or seascapes. Try to do your work so that at the end each group has a whole picture. And to make your work more exciting, I will turn on the music of P.I. Tchaikovsky "The Seasons" (or Vivaldi)
3. Reflection Job Analysis	So let's summarize our work. Finish the sentence: Today at the lesson I learned... Today I learned... Let's see what you got. Children make up a collective picture and come up with a name for it, perform with short story(presentation) about his painted picture. What do all the pictures have in common? (Nature of Russia) To appreciate each other's work, what do we need to know? (What to evaluate-criteria) Let's decide what is most important to us. Compliance with the laws of perspective The color scheme of the picture (Spring colors) What do you think is more difficult to draw in a group or individually? Is it easier to evaluate yourself or your comrades? Why? Let's define together What this lesson was for everyone (mood palette): Useful and interesting? (sky blue) Interesting but useless? (blue) Useful but not interesting (Light blue) Useless and not interesting (Dark blue) D / z: “A corner of nature where I would like to be”
4. Summary of the lesson Workplace cleaning	That's the end of the lesson. The bell rang again We can safely rest And then back to business. Thank you all for your work. You are great. You managed to play the role of landscape painters in today's lesson.

In addition to classes during school hours, the teacher needs to conduct extracurricular activities outside of school hours. Such extracurricular activities are necessary for a more thorough study of the tasks set in the classroom. The most common type of extracurricular work can be called classes in the circle. This is one of the most common types of extracurricular activities. Studying certain topics in school lessons, in extracurricular activities, these topics are studied more thoroughly and in detail. Classes in the iso circle have a number of their own characteristics. Firstly, this is an activity for children who are seriously interested in fine arts, love to draw not only in drawing classes, but also in free time. Secondly, the classes themselves in the circle differ from the classes in the classroom. In the classroom, the teacher is obliged to study topics strictly according to the program. The organization of the circle makes it possible to pay more attention to those types of visual activity that schoolchildren like more and to better develop the acquired skills. It takes into account the ability and preparedness of each student. The task of the teacher is to involve in regular artistic work as much as possible more children.

As a rule, no more than fifteen people are engaged in extracurricular activities in fine arts, which creates the conditions necessary for individual work with each. If on schoolwork activities are very diverse and numerous, then in extracurricular activities, more time is devoted to one type of activity that is interesting to children. One of these types of art work with children is the landscape genre. Children can draw the plot that they really like. The activities of the circle have two directions:

1. Deepening and expanding knowledge, skills;

2. Introducing children to new types of work in the field of landscape. It also sets the following educational tasks:

Development aesthetic perception items; formation of the concept of beauty, harmony of color wealth;

Development of artistic-figurative memory, imagination and fantasy abilities;

Development of practical skills in working with paints, familiarization with color theory (cold and warm colors, coloring);

Acquaintance with landscape painters.

Children of all ages love to draw. If the work of the art circle is well organized, then even being in high school, children will not leave drawing lessons. The success of the art circle depends on the creative dancer and the teacher himself. If the teacher himself takes an active part in the exhibitions of the children's team, the result of the work will be most effective. Children watch with interest the creativity of their leader, often even duplicating it. Also, when organizing a circle, there should be a good organization of classes. The head of the circle must create a fund of the necessary didactic and visual aids. He must regularly conduct classes and plan them clearly. When planning work from a circle, it is necessary to take into account the number of children, the number of hours, the topics of classes, the methodology and organization of their conduct. A good incentive for creative work is the holding of final exhibitions.

When planning the implementation of the landscape with students, the teacher must determine the amount of work based on the number of hours allotted. At the beginning of the year, the teacher plans the maximum, but sufficient number of topics so that the children can learn certain painting skills, but they are not tired of attending the circle, so that the children have an interest in drawing. An experienced teacher divides the group into small subgroups. That contributes to a more individual lesson with children. Each subgroup has its own characteristics and abilities for artistic work, so the teacher must very carefully group the subgroups according to the level of abilities of each child. For each formed subgroup, it is necessary to select individual task, you need to apply the appropriate technique with them. The teacher usually plans the organization of exhibitions at the end of the year. Often there are two final exhibitions: autumn and winter. There are also summer exhibitions where children exhibit their summer plein air works.

For the successful conduct of activities in the circle, it is necessary to draw up outline plans for individual topics. Each lesson requires individual preparation: that is, tables, reproductions of artists, didactic materials. At the beginning of the lesson, the teacher must explain one or another story chosen on the topic, provide sufficient information material and visually show the master class. During creative work, the teacher must carefully monitor the correct execution of each stage of drawing. In addition, while working, you need to teach children to hold a brush correctly, use a palette, and follow the technique of working on a drawing. It is useful to view completed works collectively, making mini exhibitions at the end of the lesson. During mini-views, give children the opportunity to see for themselves the advantages and disadvantages in their work, and the work of groupmates.

Landscape painting is an art accessible to children and teenagers. The landscape instills in children a sense of beauty, awakens a love for nature, the culture of their homeland. Taking into account the age-related individual abilities of students, the artistic and aesthetic development of each, as well as regional features and cultural traditions, the educator chooses topics and sequences from the implementation. The content of an exemplary program for teaching schoolchildren painting is aimed at developing the practical skills of students. The course is designed for two months, two hours a week. In landscape painting classes, students learn to depict beauty and express themselves. In these classes, the children get acquainted with the works of the great masters of landscape painters, learn to verbally characterize the features of the works of the masters. They also develop technical and practical skills and abilities. The course of the landscape painting circle includes practical and theoretical knowledge in the image of the landscape. The theory of the image of the landscape serves in preparation for practical exercises, contributes to a more meaningful implementation of educational tasks. In them, theoretical knowledge contributes to a more professional and meaningful performance of creative tasks. The whole system of landscape painting classes leads to the development of such abilities of students as observation, visual memory, figurative thinking, imagination, feelings of color and light in the image of the landscape.

Tasks color design exterior of buildings and structures

Analysis of initial data and formation of material for a draft design of a coloristic solution for an architectural exterior

Color as an integral property of the shape of objects and space in architectural design development is a means of creating a visually comfortable living environment.

Tasks of coloristic design of the exterior of buildings and structures

can be formulated as follows:

- with the help of color in a harmonious combination with the architectural form, to make the designed object outwardly attractive, aesthetically complete;

- to ensure that the object corresponds to its place in the total

spatial composition and its functional purpose;

– to ensure a harmonious combination with the surrounding color environment.

Factors affecting the color scheme of the exterior of the building:

- a certain type of interaction between color and shape of the designed object;

– functional purpose of the object;

- the size of the object and its scale ratio with the surrounding objects and

space;

- the interdependence between the color scheme of the building and the polychromy of the environment;

- the nature of the volumetric-spatial structure of the environment and the place that the designed object should take in the overall compositional scheme;

– socio-functional type of environment;

– observation conditions;

– natural lighting conditions;

- coloristic features and possibilities of building and finishing materials that are supposed to be used for construction;

- individual color preferences of the customer for private buildings or the nature of the collective color preferences for public buildings.

Ideally, when designing a form, an architect should immediately present it in combination with a certain color scheme, taking into account all of the above factors. This approach can ensure a harmonious interplay of form and color. However, in practice, unfortunately, this approach is found only in the development of unique projects, and even then not always. More often, a color designer develops a color scheme for an already designed form. In this case, the result depends on his artistic taste and on how much his coloristic concept corresponds to the formal and constructive ideas of the architect. For standard buildings, a set of standard color solutions is proposed, the use of which, of course, cannot ensure optimal compliance with all specific conditions of perception and interaction with the environment. The interaction of color and architectural form is characterized by three main types.

First type - monochromy, or very weak color differentiation in the color of individual elements of the building. In this case, color acts as an integrating means that ensures the integrity of the perception of the form. From the point of view of artistic expressiveness, such a technique is justified when there is an interesting, plastically rich, highly dissected architectural form on a large scale, for example, the famous Moscow skyscrapers (Fig. 12.1).

Second type- polychromy, based on the principle of unity of the structure and color of the structure, aimed at revealing the tectonics of the architectural form and the scale of its elements. In this case, the color emphasizes the compositional meaning of the combination of the volumes of the building, the rhythmic patterns of their relative position, and scale ratios. At the same time, the decorative expressiveness of the combinations of the form of structural and decorative elements of the building is enhanced. However, in this case, color is often thought of as a secondary means of architecture, emphasizing the compositional design that has matured without color. At the same time, if there is a large architectural form with a monotonous repetition of a large number of identical elements, for example, a typical multi-storey residential building, a combination of color and shape “by analogy” can enhance the feeling of monotony (Fig. 12.2).

Third type- polychromy, which has some independence in relation to the geometry of architectural forms, the creation of color spots ("graph"), contrasting with the elements of the form, changing the perception of the overall shape of the architectural object. This type of polychromy, called "supergraphics", makes it possible to overcome the rigid statics of the structural divisions of an object, to impart visual dynamics to it. This approach can provide a more harmonious and expressive interaction of the polychromy of an individual building with the polychromy of the environment and makes it possible to quickly respond to changes in the color environment (Fig. 12.3).

Taking into account the functional purpose of an object in color design also implies a certain interaction of form and color, since buildings and structures of different functional purposes, as a rule, have a different shape, which is due to the difference in their architectural and structural type. Often objects of various purposes differ in size and in scale ratio with the surrounding space. All this can be emphasized with a color scheme. For example, in a residential area with a common color scheme, separate objects for various purposes (schools, kindergartens, clinics, sports facilities, cultural institutions, etc.) can be highlighted in color and become color dominants. On the other hand, with the help of a common colors it is possible to combine several separate buildings, forming a single complex of general functional purpose (Fig. 12.4).

Differences in the emotional impact of colors and color schemes used in the composition can also contribute to the expression of a certain semantic meaning corresponding to the functional role of the object. However, it is impossible to prescribe any one color solution for all objects of a similar purpose, since in each specific case one must proceed primarily from a specific situation determined by the totality of the factors listed above (Fig. 12.5).

The size of a building or structure and its scale relationship with the surrounding space affects the choice of the degree of saturation of the overall color scheme. Large color spots of high saturation, which are characterized by a very intense psychological impact, can be tiring and annoying, creating a feeling of disharmony of the color environment. Therefore, large wall surfaces, as a rule, are painted with moderately saturated colors of high and medium lightness or are broken into smaller spots of contrasting colors. It should also be taken into account that surfaces of low and medium saturation react much more actively to changes in natural light, enhancing the perception of color dynamics - changes in the overall color of the environment during daylight hours. At the same time, a variety of color impressions, due to a change in natural lighting, causes positive psychological emotional reactions.

The nature of the polychromy of the environment must be taken into account in order to create a harmonious relationship between the designed object and the environment. Any anthropogenic (subjected to human activity) landscape as an integral ecological system has natural and artificial components, the totality of which determines the nature of the color environment. The color picture of the natural component - the natural landscape - is determined by the natural-territorial data of the surrounding territory. They contain many components, among which are the main ones that most actively affect the nature of the color environment and its color dynamics.

Firstly, these are climatic conditions: the state of the atmosphere, temperature and humidity conditions throughout the year, actively influencing the nature of natural lighting, from which to a large extent depends on the color of the environment. Among all climatic features, the most powerful color effect on the natural landscape is exerted by the spectral composition and duration (during the day and by season) of sunshine.

Secondly, it is the nature of the relief of the territory, which determines the play of chiaroscuro, cold and warm shades. The relief significantly affects the color structure of space, since it is the nature of the relief (flat, hilly or mountainous) that sets the spatial plans, emphasized by the color perspective. The relief sets certain potential possibilities of color dynamics in the perception of space and all objects in it from different viewpoints (Fig. 12.6).

Architect A.V. Efimov proposed a classification of types of color pools,

the difference of which is due to the different structure of the relief of the natural landscape.

For color design, not only the analysis of the nature of the landscape relief is of great importance, but also analysis of the volume-spatial structure of visually perceived spatial units of the landscape , which are characterized :

size and dimensions;

the height of an imaginary invisible ceiling;

scale (the ratio of the height of the visual barriers to the height and width

spatial capacity);

spatial integrity (visual connections between points of a spatial unit, as well as between these points and the environment); configuration of visual barriers;

visual foci.

Each type of landscape consists of various components that are color carriers, the combination of which determines the nature of the color environment. The third important factor of the natural environment, affecting the overall color

Wednesday - hydrography. The presence of water bodies affects the state of the atmosphere. Water surfaces reflect the dominant colors, enhancing their sound and color dynamics.

The fourth most important factor is flora. Arrays of vegetation, its characteristic colors significantly affect the overall color picture. Seasonal changes in flora are the most active factor in natural color dynamics.

The fifth factor that complements the color of the natural environment is the soil. Its colors are determined by the colors of the mineral constituents and the color of the grass cover and have a wide variety of shades in different regions Earth. At the same time, the color of the soil of a particular region undergoes significant seasonal changes.

All components of the natural environment are interconnected and together create a unique color picture (Fig. 12.7).

In the urban environment, the overall color often depends to a greater extent not on the natural, but on the anthropogenic environment. These are, first of all, the colors of the surrounding buildings, which are the most static color component of the urban environment.

The dominant colors of the surrounding buildings and the natural environment must be taken into account when designing the color scheme of the object. Here it is advisable to highlight the object and the background in the visual field, since the ratio of the color of the object and the color of the background in touch (along the outer border of the color spot of the object) is the most important aspect perception of color composition. The coloring of a large fragment (district, complex) is considered as a background for individual color spots of smaller fragments - a group of buildings, individual objects, etc. In turn, the walls of the building are considered as a background for individual structural and decorative elements of the building and various elements of the urban environment of small size, which can be perceived against the background of the building in the visual field. These are objects of urban design: gazebos, fountains, works of monumental and decorative art, installations, advertising devices, as well as green spaces located in the immediate vicinity of the building.

The volume-spatial structure of the territory, in the space of which a new object should be inscribed, always affects the layout, orientation in space and the configuration of the building or structure being designed. The location, size, type, shape, purpose of the designed object, in turn, determine its interaction with the surrounding landscape. Depending on the listed factors, the object may occupy a subordinate or dominant position in the overall structure. At the same time, designers should take into account not only utilitarian needs and the logic of spatial relationships, but also the aesthetic potential of the interaction of a new object with the natural and anthropogenic environment. An accurately found color scheme can significantly help in creating an aesthetically complete, harmonious connection between an object and its environment. It is the color that can give the object the intended meaning in the overall compositional structure. Therefore, the coloristic solution of an architectural project should always be based on an analysis of the volumetric-spatial structure of the environment and on the planned specific meaning of a new object in this structure, in combination with an analysis of the color structure of the architecture. Such an analysis of the color environment will be helped by the division of the urban form into types of elements, the combination of which in various combinations creates a complex image of the urban environment. At one time, K. Lynch singled out five types of clearly perceived elements of the urban form: 1) roads; 2) edges or borders; 3) districts; 4) knots; 5) landmarks. All these elements are interconnected, superimposed one on another. It is clear that they are not equivalent: districts contain all the other named elements, and landmarks (dominant buildings and structures), on the contrary, can be contained in each of the other elements. However, the color structure of the surrounding space can be created based on any of the named elements as the determining one, depending on which of the elements can be most clearly visually defined in this particular spatial situation. So, we can distinguish five types of urban environment color structure: 1) main (streets, roads); 2) nodal (nodes); 3) dominant (landmarks); 4) zone (districts); 5) panoramic (borders).

In the process of analyzing the spatial structure, impressions of a general nature are also determined:

- the degree of openness and closure, continuity and discreteness (dismemberment) of space;

- the compositional meaning of the rhythmic patterns of the mutual arrangement of buildings and natural elements;

- the rhythm of revealing all the features when moving within the considered

zones along actual routes.

A certain character of the space corresponds to the mono- or polycentric, compact or dissected character of the macrostructure of the coloristics of the surrounding space.

In parallel, the observation conditions are determined:

– main viewpoints;

– perception in pedestrian and vehicle traffic along possible routes with

using video filming along the trajectory of the so-called "mobile view point" with the connection fourth dimension- observation time;

- the color of the space elements that make up the general background when viewed from different points.

It is also necessary, taking into account the spatial orientation of the object, to find out the conditions of natural lighting: to determine the "northern" (shadow) side and the nature of the formation of shadows on the sides illuminated by the sun.

In the countryside, the color of the natural environment, which is most the spatial background, as a rule, is decisive for choosing the color scheme of an architectural object. At the same time, a harmonious combination of architectural and natural polychromy can be built both on contrasting opposition and on fitting into the surrounding natural landscape based on a nuance - similarity to natural colors and the use of a neutral range of colors.

In the conditions of urban development, the nature of the coloristic structure of a fragment of urban space is determined not only by spatial typology, but also by social and functional fullness. Functional zones are distinguished: representative citywide, intimate intra-quarter, industrial and others. Each zone has a certain type of polychromy.

Separate sections of the city are characterized by high intensity and, accordingly, a high concentration of leaking functional processes. These areas stand out as functional centers. The concentration in them of objects for various purposes, advertising installations, metro stations, stalls, transport stops, objects of monumental and decorative art determines the nature of the polychromy of these centers. We can say that the polychromy of the urban environment has a socio-spatial conditionality, which should also be taken into account in color design.

To analyze the functional content of the urban environment, it is not enough to study the volumetric-spatial structure, since the latter itself does not express either the functional processes of the zone under consideration, or the degree of their intensity. In the 80s. of the last century, the famous Soviet architect A.E. Gutnov proposed the concept of describing and analyzing the functional structure of the urban environment, based on the division of the entire system of urban development into FRAME and FABRIC.

The frame is a structural-forming part of the urban system, a set of zones in which the main processes of the life of the urban population are concentrated. These zones are characterized by high intensity of spatial development. The concept of "framework" consists of the most important material-spatial elements and connections that determine their structural and functional organization.

There are four types of frame elements:

"capacities" - spaces of concentration of functional activity;

"channels" - external communications leading to functional capacities; "gateways" - inputs and outputs connecting the "capacity" with other elements

"distributors" - nodal sections of the internal communication network of "tanks".

To illustrate this scheme with specific examples, one can imagine, for example, the central squares of Moscow and the highways connecting them, or the squares near metro stations located in remote areas and the routes connecting them with the center. Thus, the frame captures the structure of the urban environment, on the one hand, more specifically, and on the other hand, more generally than the planning structure.

Fabric is all other elements of the urban environment that have a lower intensity of all functional processes, but at the same time make up the bulk of the material content of the urban environment. The formal nature of the frame and its color features, which determine its figurative structure, also affect the entire urban fabric. Color always expresses the object-spatial qualities of the environment. In addition, in architecture, color is a social phenomenon, so the analysis of the functional structure of space is necessary for color architectural design.

The color of the building material can play a decisive role in the color scheme of the exterior of a building and structure and should be taken into account in color design. The natural color of such building materials as stone, wood, brick, metal, together with the textured features of the surfaces of various materials, has been and is currently used as a means of artistic expression. However, today these building materials are more often used for small-scale architecture, for the construction of cottage settlements and individual country estates. In urban construction, reinforced concrete structures are predominantly used, and traditional building materials are used for cladding in their natural form or, more often, in the form of artificial finishing materials that mimic the texture and color of natural ones. The grayness of the natural color of reinforced concrete structures and finishing materials in Russia in the second half of the 20th century formed an essentially achromatic appearance of new urban areas and even entire cities, rather dull, especially given the climatic conditions characterized by an almost six-month winter period. Moreover, this colorlessness was determined not only by considerations of cost savings, but also had a setting character for some time, associated with certain aesthetic ideas that ignored color traditions. However, the achromatic color of reinforced concrete structures, combined with chromatic fragments, veneered or painted, can create an expressive color harmony. In the decoration of building facades, partial cladding and partial painting are often provided. Facing is more durable, it fixes a certain color for a long time. However, for local residents, any, even the most intense color, soon becomes familiar and, as it were, psychologically invisible. Painting is more dynamic. Resuming after a relatively short period of time, it is able to take into account new trends in the formation of the color environment of the city, create new accents, and contribute to the solution of urgent artistic and utilitarian tasks. It is almost impossible to repaint multi-storey buildings in large areas of the city every two or three years, so for large objects it is advisable to use a durable color finish. But color design in this case should also provide for the coloring of individual fragments, since it is enough to change the color at the level of individual elements to ensure the dynamics of the polychromy of the architectural environment.

Currently, there has been a turn towards a more active use of color in architecture. Architects and designers must understand the performance of finishing materials and paints, understand the aesthetic expressive possibilities of the material and how one or another color carrier will be perceived at a certain distance under the influence of a light-air environment.

It would seem that the color preferences of the customer should come first in the list of factors that must be taken into account when designing a color solution for an architectural project. However, only in interiors is it possible in principle to create a visual field in which the color of each element would be determined by the designer's intention, and the entire color scheme as a whole would be the result of a solution proposed by the designer after agreement with the customer. At the same time, when designing a color in the interior, the designer, as a specialist, must tactfully, but firmly, correct the wishes of the customer, since the latter, due to lack of experience and sometimes artistic taste, may not offer the best solution, while having a poor idea of how the real embodiment of his proposals will look and be perceived. In general, complete adherence to consumer preferences even in the interior is possible only when designing the interiors of private houses and apartments and interiors intended for small, psychologically homogeneous groups, for example, the interiors of school and hospital buildings. In designing the color scheme of the exterior of buildings and structures, as mentioned above, it is necessary to take into account a large number of factors beyond the control of the designer, primarily the polychromy of the environment and its functional structure. Therefore, the wishes of the customer may sometimes directly contradict the solution of the problem of a harmonious combination of the designed object with the environment. The responsibility here lies with the designer, therefore, taking into account the color preferences and wishes of the customer, local residents, trends in the local color culture, fashion trends, the designer must link them with an objective specific situation determined by the totality of these factors. Practice shows that this is quite realistic with competent professional approach, since, in principle, a professional can achieve harmony and expressiveness of color combinations using any colors and any color gamut. No wonder artists have a saying: “Color is nothing, shade is everything”! It is only necessary to have an artistic taste, a sense of proportion, a serious analytical approach and, of course, the ability to accurately find the right shade when modeling a color (this was discussed in previous lectures). The designer himself needs to understand and be able to explain to customers the difference between the conceptual (imagined) ideal “favorite” color and the perceptual (actually perceived) color, which sometimes changes very sharply under the influence of various observation conditions (lighting, color environment, etc.).

However, often architects and designers themselves ignore the principles of the environmental approach to architectural design, including color design. The requirements for the consistency of an object with the environment are sacrificed for the tasks of self-expression, demonstration of one's artistic and constructive ideas, sometimes far from indisputable from the point of view of artistic taste. As a result, buildings quite often appear in the urban environment that contrast sharply with the environment, create visual dissonance, and in fact destroy the harmony of the urban environment, which sometimes took shape over several centuries. Unfortunately, the architecture of Moscow presents many such examples, and recently their number has increased dramatically. It seems that the principle of self-expression, which is legitimate and fruitful in easel fine art, cannot and should not be absolutized in architecture, design and monumental art. The fact is that, due to their purpose and spatial position in the urban environment, the objects of these types of art every minute for decades are inevitably in the field of view of thousands of people, they survive several generations. A person may not go to exhibitions where works that he does not like are presented, but he cannot constantly close his eyes, passing by ugly buildings and monuments. This must be taken into account by all specialists who design the external appearance of objects in the human environment.

After analyzing all the above factors As a result of design work, the designer must determine:

- the nature of the interaction of color and form in a color composition: tectonic (identifying the structural elements of the form with color) or atectonic (mismatch of color spots with the elements of the form, transformation of the form using supergraphics);

- type of color composition (monochrome, nuance using related colors or contrast);

- the type of color associated with the overall impression of the saturation of the color gamut, common to all surfaces, or different for individual facade and end surfaces (color is saturated, whitened or broken with
using low-saturated colors of medium and moderately low lightness);

– all colors of the general color range in accordance with the selected type of color composition and color, presenting them in the form of a color table and designating colors: primary (background), auxiliary (for individual elements and surface areas), accent (high saturation colors for constructive and decorative elements that are small in size relative to the building), overall dimensions.

On the design and graphic material (sketches, perspectives, axonometries, scans, layouts), the designer must accurately indicate the distribution of all colors (Fig. 12.8).

In the tectonic version of the composition, structural color plastics are used.

In this case, the color spots coincide with the boundaries of the walls, the surfaces of the loggias, with architectural and plastic details - pilasters, shoulder blades, cornices, frames of openings, etc. In the case of the atectonic variant of the composition, ornamental color plastics are used. At the same time, compositionally organized color spots that do not coincide with constructive forms can be formed by abstract geometric shapes, stylized figures that evoke subject associations, abstract or floral ornament(Fig. 12.9).

For expensive unique objects (representative public and private), the exterior design may include the use of works of monumental decorative art that complement the overall color scheme (stained-glass windows, mosaic, ceramic and picturesque decorative panels, reliefs, sculptural decorative elements) (Fig. 12.10).

It is also necessary to make a choice of finishing materials, taking into account their color and texture characteristics, cost, durability, operating costs associated with the climatic conditions of the region, and determine for which elements and surface areas each of the selected finishing materials will be used, taking into account a certain combination of not only them colors, but also textures.

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Jan. 15th, 2008 | 08:19pm

Paul Cezanne. Chestnuts and a farm in Jas de Bouffan. 1885-87
Canvas, oil. 91x72. Moscow, Pushkin Museum im. A.S. Pushkin

The attitude of the viewer to art in some way corresponds to the attitude of a person to life in general: it can be consumerist and religious, superficialand focused, sensual and intellectual, interested andindifferent... When it comes to assessments, people tend to look for some meaning both in life and in works of art. But if the meaning of life a person is ready sooner comprehend, then in relation to art he is often more categorical, arguing himself in the position of his "understanding" or "misunderstanding".

These words sound especially familiar to painting, in which the one-time visibility of the entire picture field, its relatively small size and the resulting of these qualities, an incredible number of works presented to the viewer in museum and exhibition halls - all this disposes him to swiftness and some unambiguous judgments.

At the same time, the factor of "understanding" or "misunderstanding" easily becomes the starting point of such judgments for another reason. The fact is that the pictorial form has at least three fundamentally different possibilities of use. On the one hand, it can create a direct illusion of the similarity of the image with the real appearance. On the other hand, it is capable of expressing some abstract and generalized symbolic meanings. Illusory and iconic - two poles of conventionality, two qualities pictorial form, which, in turn, is opposed and interacted with by a third absolutely equivalent quality - the purely decorative virtues of painting.

All these possibilities for the realization of the form and its further perception by the audience are used by artists in different ways, choosing or creating in their work. some formal language. This is just one of the many tasks of their art, but already it alone, as a rule, becomes a perception problem for the viewer, forcing him to guess: in what language does this or that artist speak (not to mention the meaning of what was said).

Even without delving into the obvious historical differences in style, you come across this, passing, for example, from the hall with works french impressionists to the next one, where there are paintings by their contemporary Paul Cezanne.

The Impressionists, being in a certain general mainstream of the Renaissance tradition, forwhich the object illusion has become the main formal means, have probably reached the maximum possibilities of this artistic method. resolutely freeing itself from the inertia of the image “according to representation”, leaving the workshops and completely surrendering to direct contact with nature, they liberated the colorful possibilities of painting. Optical color mixing, a variety of valery techniques, the development of color perspective and plastics - all this allowed them to create amazing effects of spatiality, air and the quivering breath of real life.

At the same time, they not only returned to easel painting its thoroughly faded decorative sharpness, but also, in a sense, “let the genie out of the bottle”, activating the energy of decorativeism, which for the leading artists of subsequent generations became the dominant factor in their pictorial culture.

However, what Cezanne called for himself "the art of museums" partly left the fresh painting of the Impressionists. Getting closer to nature, actually entering it, the Impressionists lost that inner distance for contemplation, a certain detachment and generalization and denia, which gave their great predecessors in make full use of the iconic possibilities of the image and implement ideas of a very large scale in their even small-sized works.

In Cezanne's work, the new painting takes on this dimension and, moreover, reaches such a rare balance of its qualities that it has become an exceptional artistic phenomenon in itself. At the same time, Cezanne's harmonies are so detailed, but purely pictorial in nature, that his paintings are especially difficult and "incomprehensible" for a quick and superficial spectator's perception.

For example, if you look at his "Chestnuts and a farm in Jas de Bouffan" after the expressive landscapes of C. Monet or A. Sisley, then Cezanne's work will most likely seem more prosaic and detached. However, the negative emphasis of first impressions in these same words can change to a positive one upon further consideration Images. The prosaic will turn into the richness of the pictorial narrative, and detachment will give him freedom and mobility, as it will provide the viewer with a variety of points of view.

The most obvious key to this perception of this landscape (and, probably, any work of Cezanne) is an analysis of its spatial composition. And here, already in the first approximation, it is noteworthy that in the general construction the gaze is easily concentrated on individual fragments that carry some independent spatial sensations and at the same time are clearly compared with each other.

First of all, the conditionally separate space of the foreground is striking, which, like a small abstract-painterly panel, unfolds along the lower section of the canvas from one edge to the other, and from above it is clearly outlined by a continuous line of changeable color contrast. What's this? The prelude of the whole image or its final part? Probably both. After all, one of the unique qualities of painting is that the time factor here is freed from its eternal sequence, and in the picture its flow is closed into a visible whole.

Similarly, the foreground can be perceived as decorative and symbolic. And from the point of view of object visibility, it fits into the inner space of the farm yard, in the scenic emptiness of which two powerful trees rise. Their combined crown is so large and original in terms of plastic development that it constitutes an independent spatial whole within the overall image. Small fragments look like separate characteristic episodes: going deep into the fence on the left and distant trees on the right. Finally, the architectural composition and the sky compressed from all sides close the spatial construction of this picture.

Picturesque narrative is certainly present in the works of the Impressionists. Sisley's "Garden of Oshere" shimmers with a free play of spatial planes. Diagonal movements on the ground plane intersect in it, crown volumes, patterns of trunks and branches, etc. are variously compared.

Alfred Sisley. Hoschede garden in Montgeron. OK. 1881
Canvas, oil. 56x74. Moscow, Pushkin State Museum of Fine Arts

Claude Monet. Haystack near Giverny. OK. 1884
Canvas, oil. 64.5x87. Moscow, Pushkin Museum im. A.S. Pushkin

"Haystack near Giverny" by Monet, on the contrary, demonstrates the orderliness of plans, volumes, transfers. But in both cases, the elements of the spatial whole do not stand out in independent episodes that stand apart in our perception, and their interaction is light, not ambiguous. These works are very close.to the viewer, but their internal scale is reduced to the size of a story, an essay. Cezanne is in easel painting tends to a large, novelistic scale and, quite naturally, moving away from about a greater distance from the viewer, enhances the self-sufficiency of certain forms, gives them the opportunity to more fully reveal their own "characters". But on the other hand, in their comparisons it is more complex, deeper, more significant.

The "novel" form did not always correspond creative tasks Cezanne, which addressed both somewhat smaller, and the largest - epic themes.But this definition comes quite close to the work we are considering. due to its possible biographical implications. The Cezanne family has lived in Jas de Bouffan since 1859. The world of this family is a separate topic with complex dramaturgy. But the world of this house, which meant a lot to the artist, could not but be reflected in the composition of this work. And therefore, the ratio of the two monumental trunks, and somewhere running away movement to the left of the obscured tree, and a squeezed, but spiritually intense fragment of the sky.

However, for such an artist as Cezanne, personal motives could not become main theme paintings. They sounded more than once in his works, and they can to be present in some plan of this landscape. However, Cezanne's main theme was not living, but being. And not so much just the existence of objects, people, nature as a whole, but the spiritual, sublime and very individual feeling of this existence, embodied in the ideal-real world of painting.

Cezanne's poetics is a great and very noticeable phenomenon in world art, classical in nature. But unlike the classics of the past - from Poussin and, in features, from Titian - Cezanne's poetics wears a restrained, more internal character. If Titian openly demonstrates beauty, without moving away from the public, but dominating her, actively shaping her taste, then Cezanne definitely avoids "pretty". He seeks to protect beauty from the stereotyped mass perception.and leads the viewer to it in a slightly longer, but also more reliable way. Not immediately and soon, but at some stage, in the process of immersion in the prosaic appearance of his paintings, you begin to see freedom, poetic element, wildness, pure fantasy - all that perfect life that flows through the time and space of our everyday life.

Having moved away to a large extent from the viewer for the sake of the freedom of his attitude, Cezanne, however, was able to completely subordinate himself to painting, especially in in terms of creative discipline. In recent art history, it is difficult to find another artist whose paintings were as carefully thought out and organized as the work of Cezanne. This is visible in general analysis spatial composition of the landscape in question. And no matter what our attention is switched to - a linear drawing, coloring, colorful texture, etc. - in each element of the form one can feel and gradually realize non-randomness, specificity, significance.

But back to the beginning. Possibility of transition from decorative materialityin perfect world object illusion, its transformation into a symbol and the returninto the primordial element of pure forms - all this endlessly fills painting andexpresses the harmony of life itself. “Chestnuts and a farm in Jas de Bouffan” gives us the opportunity to see this harmony and feel its joy, and the foreground of this picture, perhaps, in the most direct form embodies the joy of the artist himself, which art gives him.

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| Jan. 15th, 2008 | 08:19pm

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Jan. 15th, 2008 | 08:19pm