Paintings of the Soviet period is full of brilliant names. Unfortunately, time is sometimes ruthlessly to the memory of the art formerly known authors. Example is the name of the prematurely departed in 1997 a full member of Arts, Honored Art Worker of the RSFSR Filatcheva Oleg Pavlovich (1937-1997). In 2007, academic halls Prechistenke an exhibition of his memory have included a pictorial and graphic works submitted by the artist's family. OP Filatchev better known as a muralist. He worked not only in the USSR but also abroad. Its walls were decorated with paintings of the USSR Embassy in Washington. Some radical citizens linked intravital success with "giperkonformizmom" mirovoreniya artist in relation to power. Leave on their conscience this statement. OP Filatchev entered the history of art as an artist reinterpreting dull aesthetics severe style, enriching it with new image-plastic language. Filatcheva favorite artists were painters of the early Renaissance. It was in this cultural-historical paradigm was the life-giving source of inspiration and creativity of the author of the landmark. Undoubted interest are the series of portraits of his contemporaries, executed in tempera on levkasnomu ground, as well as a magnificent series of graphic works dedicated to the fishermen to the north and military pilots.
Most of the heritage of the artist is included in the collections of major public museums. The market is practically no work of this author. In this regard, there is no information about the artistic heritage. But sorry. Yourself OP Filatcheva not so clearly understood in the context of the cultural perspective of artistic life in the USSR 70-ies. He himself, not only as a painter, but also as a person, were a type of universal and harmonious human era of great style.
Most of the heritage of the artist is included in the collections of major public museums. The market is practically no work of this author. In this regard, there is no information about the artistic heritage. But sorry. Yourself OP Filatcheva not so clearly understood in the context of the cultural perspective of artistic life in the USSR 70-ies. He himself, not only as a painter, but also as a person, were a type of universal and harmonious human era of great style.
METHODS OF TEACHING DRAWING AT THE BEGINNING OF XX CENTURY
Posted 14-05-2010 at 15:27 by OTROK NIKODIM
The beginning of XX century opens a new page in the history of teaching methods of drawing. During this period there were a variety of views on art, at school, on the forms and methods of instruction. Many of them are dormant reactionary ideas, advocated "art for art's sake" underestimated the importance of school as an educational institution. During this period, methods of teaching drawing in the general education schools are beginning to influence the various bourgeois and petty-bourgeois teaching of the theory of Western European and American scientists. Widespread gets the theory of "free education", based on the concepts biogenetizma.
Teaching ideas, principles and methods developed Kramskoy and PP Chistyakov, have not been acted upon. Methods of teaching drawing, painting, composition has become less interested in school teachers. In the first place were put forward general issues of aesthetic education of children, the problem of child art and child psychology.
Because these issues in Russia is still heavily involved, are invited to consult with them in the writings of Western specialists. "Art and Education Journal" took on the role of facilitator of these new views and teachings. Thus, NE Rumyantsev article "Development of aesthetic sense in children," she wrote, "Modern psychology in the person of its best representatives is another point of view. In her view, the basis of mental life are not submitted, and the feelings and aspirations. "No intellectual giftedness, as such, - observes Professor Meiman, - ensures suitability for future human life and the quality of his will, strength and subtlety of his emotional reactions." And even: "That's why you can not create works of art schools in size and taste of adults without specifying in advance exactly the artistic sense of children as it is impossible to give them a hand books, not knowing the extent of their understanding. Must, above all, to determine how the children, to their own devices, shows the aesthetic sense, and how it develops ... "" One of the first works devoted to the children's painting, owned by Italian Corrado Ricci. The best research in this regard is the work of German Psychologists Levenstein and Kershenshteynera, which influenced the processing method of teaching drawing in the sense of bringing it closer to the demands and needs of the child of nature "[1].
The method of teaching drawing, AP Sapozhnikov, called "geometralnym, boring and far from the demands of children, were considered unfit for secondary schools. Geometralny method of teaching recommended the removal from use and go to the "free education". Education pictorial literacy rejected, offered only to acquaint children with the techniques of drawing. The Journal of the Ministries of Public Education "(1907) we read:" The teacher should never force the child's identity, on the contrary, he should try to define what the genre of the child is most capable of: the material for this purpose it is arbitrary, so-called scribble baby. Encouraging him in this direction, the teacher should teach him the main methods of drawing, but does not resort to this to draw geometric shapes or the original "[2].
Increased interest in the methods of teaching art in secondary schools, bringing to the problems of pedagogy psychologists, artists, art historians should be considered positive. However, with greater expertise and wider range of pedagogical issues. Each specialist has to consider the methodology of teaching from their positions. Often, good reading all the problems of their science, the scientist did not quite understand the specifics of fine art and, in particular drawing. Many scholars, the term "painting school" knew no longer painting, as such, but a collection of various nature education classes - drawing, painting and composition. This led to different judgments about the goals and objectives of teaching drawing at school, to opposing viewpoints on teaching methods. Some concepts of scientists led a heated debate among teachers and discussions are linked with questions and methods of teaching drawing.
Especially controversy raises questions about the benefits geometralnogo and natural methods of teaching. Disputes and disagreements on the matter took such a broad scope that came an urgent need to seek assistance from the Academy of Arts.
In 1913 the Petersburg Society of Teachers of drawing applied to the Council of the Academy of Fine Arts from the memo, asking him to express his attitude to disputes between geometralnogo and natural methods of teaching magazine "Art and Life" in 1913 found it necessary to inform the public and posted an article to read:
"St. Petersburg Society of Teachers of drawing applied to the Council of the Imperial Academy of Arts the following memo ... (continued on the link: http://kikg.ifmo.ru/learning/met_pro...ris/glava4.htm)
Teaching ideas, principles and methods developed Kramskoy and PP Chistyakov, have not been acted upon. Methods of teaching drawing, painting, composition has become less interested in school teachers. In the first place were put forward general issues of aesthetic education of children, the problem of child art and child psychology.
Because these issues in Russia is still heavily involved, are invited to consult with them in the writings of Western specialists. "Art and Education Journal" took on the role of facilitator of these new views and teachings. Thus, NE Rumyantsev article "Development of aesthetic sense in children," she wrote, "Modern psychology in the person of its best representatives is another point of view. In her view, the basis of mental life are not submitted, and the feelings and aspirations. "No intellectual giftedness, as such, - observes Professor Meiman, - ensures suitability for future human life and the quality of his will, strength and subtlety of his emotional reactions." And even: "That's why you can not create works of art schools in size and taste of adults without specifying in advance exactly the artistic sense of children as it is impossible to give them a hand books, not knowing the extent of their understanding. Must, above all, to determine how the children, to their own devices, shows the aesthetic sense, and how it develops ... "" One of the first works devoted to the children's painting, owned by Italian Corrado Ricci. The best research in this regard is the work of German Psychologists Levenstein and Kershenshteynera, which influenced the processing method of teaching drawing in the sense of bringing it closer to the demands and needs of the child of nature "[1].
The method of teaching drawing, AP Sapozhnikov, called "geometralnym, boring and far from the demands of children, were considered unfit for secondary schools. Geometralny method of teaching recommended the removal from use and go to the "free education". Education pictorial literacy rejected, offered only to acquaint children with the techniques of drawing. The Journal of the Ministries of Public Education "(1907) we read:" The teacher should never force the child's identity, on the contrary, he should try to define what the genre of the child is most capable of: the material for this purpose it is arbitrary, so-called scribble baby. Encouraging him in this direction, the teacher should teach him the main methods of drawing, but does not resort to this to draw geometric shapes or the original "[2].
Increased interest in the methods of teaching art in secondary schools, bringing to the problems of pedagogy psychologists, artists, art historians should be considered positive. However, with greater expertise and wider range of pedagogical issues. Each specialist has to consider the methodology of teaching from their positions. Often, good reading all the problems of their science, the scientist did not quite understand the specifics of fine art and, in particular drawing. Many scholars, the term "painting school" knew no longer painting, as such, but a collection of various nature education classes - drawing, painting and composition. This led to different judgments about the goals and objectives of teaching drawing at school, to opposing viewpoints on teaching methods. Some concepts of scientists led a heated debate among teachers and discussions are linked with questions and methods of teaching drawing.
Especially controversy raises questions about the benefits geometralnogo and natural methods of teaching. Disputes and disagreements on the matter took such a broad scope that came an urgent need to seek assistance from the Academy of Arts.
In 1913 the Petersburg Society of Teachers of drawing applied to the Council of the Academy of Fine Arts from the memo, asking him to express his attitude to disputes between geometralnogo and natural methods of teaching magazine "Art and Life" in 1913 found it necessary to inform the public and posted an article to read:
"St. Petersburg Society of Teachers of drawing applied to the Council of the Imperial Academy of Arts the following memo ... (continued on the link: http://kikg.ifmo.ru/learning/met_pro...ris/glava4.htm)
