Krykbayeva Sarah Mukashevna
candidate of art criticism, acting assirology Professor,
Excellent
student of culture of RK, member of the Union
of artists of RK and member Euroasian union
of designers.
Kaldybayeva Gulmaria Auelchanovna member of the Union of artists of RK, senior teacher Kazmemkpu. Kazahstan.
Ðåçþìå
 ñòàòüå ðàññìàòèâàþòñÿ îñíîâíûå çàäà÷è è
îñîáåííîñòè ó÷åáíîãî íàòþðìîðòà.
Summary
This article reveals the peculiarities of the still-life in the
process of training and the creative one.
Êëþ÷åâûå ñëîâî
íàòþðìîðò
Features of academic and creative still life
With the development of the academic system of education in 18 century
there is a training or staging, still life, becoming one of the essential
elements of learning. Realistic figurative charter is the ability to truthfully
depict the nature of the shape, texture and colors of objects, objects or
phenomena of reality. Truthfully depict nature - is able to build constructive
and promising items, transfer their proportions, size, materiality, spatial arrangement.
Produce a drawing or sketch for color integrity and unity, to identify the
characteristic features of the depicted objects and objects, their aesthetic
qualities and beauty.
All these qualities are literate realistic images at the initial stage
of training is available when the study of still lifes. That's still life is a
special object images for learning the foundations of graphic literacy. Drawing
and painting still life - this strict school of painting and creative
experiment, where the beginning artist understands the laws of color harmony. Still life painting
is called chamber music. It can be traced skill blending strokes, to evaluate
the harmony of color and plastic forms. It is
easier and faster than you can learn the basic laws of the beautiful letters -
is a promising and practical construction, black and white and color molded
shape, the transfer of materiality and spatially distant objects image, tone
and color integrity, unity and harmony, which are common to the implementation
of landscape, interior, head and a human figure.
In
compiling teaching full-scale production of still life should follow the
following rules:
The basis of the course, working with still life must be based on the
principle of a systematic and consistent training. Based on this principle, each
subsequent learning tasks must be prepared prior and is the basis for the
decision of the next job. Each full-scale production embodies the specific
aims. Guided by the principle of simple to complex, still-life study made in
the following sequence:
1)
production of gypsum solids;
2) still lifes of household objects that are similar in shape to
geometric solids; 3) production of everyday items of varying shape, color and materiality;
4)
Still Life in the interior.
The content of each training setting a still life should be determined
primarily specific learning goal and objectives identified in syllabus
painting. Need a good understanding of what kind of theoretical knowledge and
practical skills to be learned and gain resulting from the implementation of
this full-scale productions.
Aside
from having a specific learning task, still life, and must meet the aesthetic
demands: his subjects as possible should be organized thematically related to
semantic content, must bear a certain idea.
One
condition for successful work - the attractiveness of nature. Emotional side
plays a crucial role in learning, is a creative approach to the process of
painting. Boring job quickly tires, a desire to
quickly and how horrible the job done.
Unlike
creative still life, still-life training is more narrowly focused: the objects
are selected, grouped and highlighted so that the specific training task was
successfully accomplished. Therefore, the study still lifes allow a certain
amount of reserve. Venue they often do not play a significant role, unlike the
creative still life. These include still-lifes
of drapery, which sometimes emphasizes their purely educational purpose, being
the background, they contribute to the identification form of the subject,
create tonal or color contrast and color are spot for the unification of the
entire group of subjects.
Initial
training period the fine arts is the foundation on which to keep all subsequent
artistic development of the student and to be built in an extremely short
period of training time. At this stage, teaching
work should be aimed at understanding the students to their artistic and
creative productivity in aesthetic activity.
When
you work with nature before the students are usually the task of competent
image, where the learner is trying to do the job similar to nature. But even
all this tedious process can be laced with creative acts at all stages, from
choosing the format to the final execution, if the vehicle image is not
imposed, the work is not under duress, and for the selected song. All students
living creator, everyone has their own idea to create artistic images
associated with a particular organization, technology, texture, color, motif. Creativity, as an active party election activities, is
growing gradually - from elementary, spontaneous level to the category of
creative thinking. The artist gives his own assessment of the nature and
in accordance with that selects the methods, means for her portrayal in the
picture plane. This author's assessment within
any educational setting may show the student in the composition and color, the
choice of methods of graphic material, processing invoices colorful surface,
etc.
Thus, every academic essay along with the solution of problems of literacy
and creative art solves the problem - the composition and color of
construction, display the nature of nature, technique, etc. Creative approach
to problems of student etude should be manifested at every stage of its
implementation - in the organization of production, choice of motive
perspective on the nature, size and format sketch (layout), the ability to
convey specific and interesting qualities of nature, cause the image to the
integrity and unity, in an attempt to convey
emotion in his study, the immediate impression of nature, ie nature of the
etude requires that the student was kept in an active creative search.
It is
worth noting that the creative process - is not a direct reflection of their
student experiences, their observations. Creativity - is the highest level of
cognition, the highest and most complex form of activity inherent in man,
assuming the mobilization of all its basic mental processes, all the knowledge,
skills, life experiences, spiritual and sometimes physical force, generating
something qualitatively new, distinguished by originality, originality. Artistic creativity through the creative process,
which is a set of stages of the artist to translate a certain ideological and
imaginative idea into a finished piece of art that represents a specific
reflection of objective reality in a particular form - artistic images.
To perform the creative work requires a certain base, the system of
specific skills that would enable competent approach to the creation of
beautiful works and would constitute a kind of tool, a means for solving the
set in a particular work tasks. Any representational activities is an
integrated practical implementation of different techniques and skills in
drawing, painting and composition. They are produced in the course of training in
the performance of classroom productions under the supervision of a teacher.
Students acquire skills while working with materials, learn the laws of
constructing realistic images, trace certain patterns and specificity in the
depiction of subjects under different conditions. School - is on the one hand,
an academic study, mastering the necessary qualities of drawing and painting
(the proportion, color, movement, tone, expressive language, etc.), the study
of objective laws of nature, experience the fine arts, performance of certain
facilities and requirements mandatory for all students. On the other hand, the
preservation and development of individuality, creativity of future artists. The school aims to provide a common culture, lessons
learned knowledge to develop personality of students. Therefore, the
basis for educational work with students must be found for the relation between
the so-called academic education, the collective experience of development of
individual students.
For academic
work is characterized primarily cognition, in-depth and comprehensive study of
nature. Educational work are not emotional,
original, fresh, because they are still imperfect in artistic terms, since
students do not yet have the experience, skill, do not know the variety of
means to solve educational problems or embodiment design. Experience
will free creative mastery of nature and its laws, as well as technical
excellence.
Typically,
academic work may not meet the ideological and mature-like concept and fully
conscious approach to their implementation in the language of art. Picture of the artist is different from academic work
depth of the topic, the plot, the characters, the complexity and perfection of
composition and color-plastic construction, performance skill, etc. Various
well and working installation of educational work and creative painting. In the
first case, for all groups of students or course put some training tasks in the
second - the artist is guided by a personal creative vision. In the process of
implementation of training young artists work in series, in particular the
system acquire the knowledge, skills and abilities, learn the laws of the world
and the picture plane, becoming a culture of visual perception, the ability to
express themselves by means of pictorial impressions received from nature, IP These issues does not preclude the practice of
creative artist, however, a mature master solves all these issues at a higher
level. The tasks of art that a student is just beginning to comprehend,
an experienced master already knows. The painting and preparatory sketches,
sketches of the artist is searching for the most complete realization of his
idea. Armed with knowledge and experience, knowing the ultimate goal of a
creative artist, painter solves the problems that lead to this goal by using
visual tools, techniques inherent to him.
As an
independent genre of art still life has a great pictorial possibilities. It
shows not only the external, material nature of things. With a specific image of things in the still life in the shape can be
transferred to the essential aspects of life, and also reflects the era, the
most important historical events. This is because the artist deliberately
selects objects in the image, expressing his own attitude to the world,
expressing their thoughts and feelings. In its best manifestations, still life
becomes an effective means of ideological and aesthetic education of people,
shaping their tastes, ideas, views.
1. Burchik AI The technique works on a still
life / Methodical recommendations for
the course "Art" for students majoring in P 02/04/00
- Visual arts and
cherchenie.-Grudno.-2001.-18 pages
2. Rusakov, NN, Petrov VI Method
"motto" and its emotional foundation in the visual arts classes at
the Faculty of elementary school / Teachers vestnik.-2005 .- ¹ 9.-12 Page
Ðåçþìå
 ñòàòüå ðàññìàòèâàþòñÿ îñíîâíûå çàäà÷è è
îñîáåííîñòè ó÷åáíîãî íàòþðìîðòà.
Summary
This article reveals the peculiarities of the still-life in the
process of training and the creative one.