Methodological development on the topic: “Still life in watercolor technique. The formation of students' aesthetic ideas, concepts and tastes by drawing landscapes in watercolor

Municipal budgetary educational institution of additional education for children

children's (teenage) center "Agnes"

children's (teenage) club "Rainbow"

Methodical development

Master Class

"Watercolor on crumpled paper"

Developed by:

Balashova Irina Vyacheslavovna

Teacher of additional education

Children's (teenage)

Club "Rainbow"

N. Novgorod

Master class on the theme "Watercolor on crumpled paper"

The technique of working with watercolor on crumpled paper refers to the methods of unconventional drawing.

The technique of working with watercolor on crumpled paper is recommended for classes with children from 5 years old.

The work can be used as a gift for Palm Sunday.

This master class may be of interest to teachers of additional education working in the direction of "decorative and applied art", pedagogical workers of educational institutions in the organization of circle work and the work of creative associations.

The purpose of the master class: improving the professional skills of teachers - participants of the master class in the process of active pedagogical communication on mastering the experience of working with watercolors.

Tasks:

introduce teachers to the technique of additional watercolor effects;

to teach the sequence of actions, the use of methods and techniques on the example of the letter "Verba";

create conditions for self-realization and stimulation of the growth of the creative potential of teachers in the process of conducting a master class;

to promote the interest of teachers in non-traditional ways of drawing.

Expected results of the master class:

increasing the creativity of teachers;

the opportunity for teachers to use a new non-traditional method in their practice;

study of development on the topic of the master class;

growth of motivation of MC participants to form their own style of creative pedagogical activity;

practical development by MC participants of special knowledge, skills and techniques in the process of work;

creation of watercolor work in the technique of "crumpled paper", showing creative initiative, imagination and thinking.

Methodological equipment of the lesson

Methods:

interactive (verbal, visual, practical);

research (the ability to independently distribute work activities,

choice of action and its method, freedom of creativity).

Receptions:

explanation;

consultation;

conversation with a demonstration of practical actions;

creating watercolor work

Using visibility:

Setting a bouquet of live willow;

samples of finished work performed by the teacher;

schemes for the phased implementation of products;

materials for practical work.

Materials and tools:

sheets of cotton wool;

watercolor;

• sea ​​salt;

  urea;

The course of the master class.

Dear colleagues! - I am very glad to see you here, in our club "Rainbow". My name is Irina Vyacheslavovna. I am a teacher of arts and crafts in the Batik circle.

Very soon - the bright holiday of the Resurrection of Christ, Easter. On such a bright day, I want to give joy, so I propose to do a watercolor work done in the “crumpled paper” technique “WILLOW”. It can be used as a gift or decoration for the holiday.

So, with a great mood and positive emotions, we begin the master class.
For work we need materials:

Watercolor.

1. Whatman paper of any format convenient for you.

   Urea.

Let's move on to the practical part.

A sheet of Whatman paper is well wetted with water. If possible, it is better to soak in a container.

Carefully crumple the raw sheet in several directions

We straighten the sheet

On still raw paper, we write the background, adding alcohol, salt, urea for effects.

With whitewash without a brush, with the help of fingers, we randomly put white spots, imitating willow buds.

With a brush, try to draw branches into ready-made buds. (The child tries to show imagination to draw the bends of the branches)

7. We complete the work.

Work is ready!

I hope that the knowledge you acquired at today's MC will help you solve creative problems in the classroom with children.

Thank you for your cooperation!
- Thank you for your attention and participation in the work. Be always healthy! And creative success to you!

Bibliography:

Olga Shmatova "The self-instruction manual on drawing by a water color". Moscow 2010

Master class as a modern form of certification in the context of the implementation of the Federal State Educational Standard. Technology algorithm, models and examples of implementation, quality criteria / comp. N.V. Shirshina. - Volgograd: Teacher, 2013.

Master classes and pedagogical seminars in the additional education of children. Theoretical and organizational aspects / Comp.: Klenova N. V., Abdukhakimova S. A. / Ed.: Postnikov A. S., Prygunova A. P. - M .: MGDD (Yu) T, 2009

Wildflowers in watercolor. W.Tate. Christina &K. 2010

Internet resources

http://kladraz.ru/ - Site "pantry of entertainment"

http://victoriaartist.ru/ Breath of watercolor. Website of the artist V. Kiryanova

Annotation: the article performs short review basic ways of working watercolor painting, a brief description of the materials used in the technique of watercolor painting is given.

Keywords: fine arts, watercolor painting, creative potential, technique, materials.

Watercolor painting has great potential in developing artistic and creative abilities in children, allows solving a wide range of educational tasks due to the possibility of using a large number of techniques and techniques in watercolor. "Watercolor helps to master the space and form of the objective and imaginary world". At the same time, watercolor has many nuances that should be taken into account when teaching, as neglecting them will cause difficulties for children and subsequently may completely push them away from learning the technique of watercolor painting.

All watercolor techniques can be divided into two main groups: watercolor "dry" and watercolor "wet". In each of these groups, in turn, several smaller ones can be distinguished. The first group includes watercolor, performed both in 2-3 layers, and in a higher number of layers, i.e. in glazing technology. The second group consists of the “a la prima” technique and the “raw” technique itself. Their difference lies in the fact that the “a la prima” technique is single-layer and is performed in one session, while the “raw” technique allows you to add small details already on a dry surface.

In watercolor, one more group of techniques can be distinguished - mixed. This group implies the creative use of materials "application creative methods in working with watercolor makes the lesson interesting and exciting. It involves the introduction of additional materials into watercolor. Most often, white is added to indicate highlights or drawing small light details on dark background. In addition to white, ink, pastels, colored pencils can be combined with watercolor. Unusual effects can be achieved if you introduce wax, salt into watercolor, apply the spraying technique. For example, salt applied to a wet work, when dissolved, brightens the paper underneath, creating a texture of leaves or drops, so it can be successfully used in landscape classes. Combining watercolor, wax and black gouache or ink in your work, you can invite children to work in the “scrattage” technique.

Mixed media in children is of the greatest interest. This is due to the possibility of combining several materials in one work, as well as the result obtained from their application. “The use in work of such techniques as monotype, the use of wax, salt teaches you to experiment in art, activates artistic and creative abilities and imaginative thinking” .

In the technique of watercolor, the quality of the materials used is subject to increased requirements, since watercolor does not tolerate frequent corrections.

The main burden in watercolor painting falls on paper. Depending on the task that the artist sets himself, a choice will be made in favor of paper with a smooth or rough texture.

The texture of paper depends on the method of pressing: cold or hot. Cold pressing gives the paper a characteristic roughness, while hot pressing, on the contrary, makes the paper smooth. Paper with a smooth texture is best used when working in mixed media, for example with ink or marker, and in work that involves a lot of small details. Rough paper is best used for large color fills. However, regardless of the surface, the watercolor paper must be thick enough for the paint to soak into it and set. On paper with the same high density, but with a different texture, the ink will fall equally well. At the same time, when choosing between two types of paper with a low density, it is better to choose cold-pressed paper, since the ink will be better fixed on it due to the rough texture.

It is better not to use low-density paper for glazing technique, because. such paper will not be able to deeply absorb the paint, and subsequently the upper layers of paint will wash out the lower ones. This paper is best used for short sketches, “raw” and “a la prima” techniques.

In the classic watercolor technique, white paint is not used, its role is played by unpainted paper. However, it is not always possible to leave white spaces white. For example, if an artist is faced with the task of painting a still life with a glass decanter using the “a la prima” technique, then it will not be easy to leave the glare on the glass untouched. In such a situation, he can use whitewash, but then the work will be considered done in mixed media, or use the scratching technique. The last technique was used by Thomas Girtin, one of the founders of English watercolor painting, in his painting The White House in Chelsea. This technique consists in the fact that white places in the picture are obtained by carefully removing the top layer of paper with paint using some sharp object. This method makes sense to use to detect glare and other small details. Recently, watercolorists have had another way to preserve white spots on the canvas - masking liquid. It is a latex-based solution. After being applied to paper, it dries fairly quickly, forming a rubber film, protecting the surface from paint ingress. At the end of the work, it is easily removed with an eraser. The masking liquid makes it much easier for the watercolorist to work, it makes it possible to work with large fills at once, without being afraid to cover unnecessary places with color.

Such a technique as "scrattage" is a great success in watercolor painting classes. The following is a methodology for conducting classes in this technique. To complete the task, it is better to limit yourself to three primary colors: yellow, red and blue, applied to watercolor paper with high density. In the case of a lesson in a comprehensive school, you can use ordinary watercolor paper. The choice of colors is determined by the fact that, firstly, it will allow you to consolidate the skills of obtaining additional colors (orange, purple and green, as well as their shades), and, secondly, a small number of colors will help to avoid the appearance of dirt in the picture.

First, a sheet of watercolor paper is moistened with enough water. It is important that the paper is just damp, as this will allow the colors to interact better with each other and soak into the paper. Of great importance is that the colors must be mixed within the structure of the paper, and not on its surface. With an excess amount of water, the paint will "float" and mix worse. In this case, smooth color transitions will not work. It is better to apply paints from light to dark in the following sequence: yellow, red, blue, in a chaotic manner over the entire area of ​​\u200b\u200bthe sheet. It is better to have color spots side by side, and not one on top of the other. By applying them in this way, children will be able to more clearly trace the process of mixing paints. This will gradually lead to the study of the features of color construction in painting, since "the study of color and its possibilities is central to the teaching of painting." After applying the paints, you need to wait for the paper to dry completely. Then, on the dried work, you need to apply a layer of wax. For this, both wax crayons and a regular candle are suitable. The layer should be dense enough so that it can be easily worked on. It is better not to give such a task to children under grades 3-4, since it is difficult for them to cover a sheet of paper evenly with wax. At the last stage, black gouache or ink is applied to the paper. After the ink dries, depending on the complexity of the composition and the level of preparation of the children, a preparatory drawing is applied. It can be done with a dull soft pencil - in this case, children have the opportunity to correct mistakes. The final drawing, on the contrary, must be done with a well-honed pencil or other pointed object.

The organization of lessons on watercolor painting requires a great deal of preparatory work, as it contains many features and nuances. Properly structured systematic watercolor lessons in fine art classes will allow children to master an interesting painting technique, develop creative thinking, and also enjoy the work done.

Bibliography

1. Semenova M.A. The development of creative abilities in the classroom in watercolor painting. / - M .: Primary school plus Before and After / No. 09, 2009. - 24-28 p.

2. Semenova M.A. creative use art materials in watercolor painting Primary school plus Before and After: monthly scientific and methodological and psychological and pedagogical magazine No. 9 - M .: Balass LLC, 2012 - S. 82-86.

3. Semenova M.A. Coloring in watercolor painting. / M.A. Semenova // Primary school plus Before and After: monthly scientific-methodical and psychological-pedagogical journal No. 3/12 - M .: Balass LLC, 2012. - P. 91-94.

4. Semenova M.A. Workshop on work with water-soluble paints: teaching aid / M.A. Semenov. – M.: MGPU, 2013. – 52 p.

5. Farmakovskiy M.V. Watercolor: her technique, restoration and conservation / - M..

In ancient Egypt, they painted with a sharpened stick with a piece of camel hair at the end with paints from crushed earth. This was the first watercolor technique, which is already about four thousand years old. Since then, watercolor painting has become firmly established in use in Europe.

The word "watercolor" itself has the Latin root "aqua" - water. Therefore, the main principle of the watercolor painting technique is the degree of wetting of the paper. It is water that gives the transparency of paints, the purity of color and allows you to see the texture of the paper.

For the artist, there is a choice of existing watercolor painting techniques:

• dry watercolor (Italian watercolor);
• wet watercolor (English watercolor);
• combined (mixed) technique;
• watercolor on partially moistened paper.

Dry watercolor (Italian watercolor)

Acquarello - this word sounds musical to the ear. Layers of paint are applied (one, if it is a single-layer watercolor) or several (if it is glazing) on ​​a dry sheet of paper.

"Watercolor is the gentle promise of oil," and this technique is a direct confirmation of this.

The tone of the paint is thicker, the colors are brighter, the strokes are visible as if the drawing was painted in oil. The main difficulty is that if the oil endures everything, the work can be corrected, then it is practically impossible to make mistakes in watercolor. The Italians even have the term “A la Prima”, that is, “in one go”. The picture is painted without stages. With pure, undiluted colors, one must boldly grasp the essence, make a sketch from nature.

Steps of the artist in the technique of watercolor in a dry way:

1. drawing a contour drawing, development of shadows;
2. watercolor in one layer, or glazing;
3. smears are opaque, mosaic, accurate;
4. avoid dirty influxes, high speed of work.

From whom to learn the Italian manner: Russian academic painting of the 19th century. For example, "Italian Landscape" by A.A. Ivanov is stored in the State Tretyakov Gallery in Moscow.

Wet watercolor (English watercolor)

The French call this technique "working on water" (travailler dans l'eau, fr.)

A sheet of paper is abundantly wetted with water. In this technique, the main feature is the unpredictability of the result. Even if the artist has correctly calculated the tone and color, the drawing, before it dries completely, may change more than once before taking on the final form. The contours of objects in this technique are vague, the lines smoothly flow into each other and are airy. A picture made in this technique is thought out and imagined by the viewer.

In his book How to Understand Watercolor, writer Tom Hoffmann said: “Watercolor painting is a dialogue between the artist and the viewer, each with their own role. If only one talks, the other will get bored.”

Wet watercolor artist steps:

1. adding water to paints;
2. mixing paint, no matter where, on the palette or on the sheet;
3. wet the sheet abundantly, then smooth it so that there are no irregularities;
4. remove excess water from the sheet with a piece of cotton wool so that it stops shining;
5. perform the drawing, making extremely precise strokes;
6. drying the picture from 2 hours;
7. elaboration of foreground elements (if required).

From whom to learn the English manner: from the brilliant English painter William Turner. According to contemporaries, he created four drawings at once in this technique "with amazing, monstrous speed."

Among Russian artists, an example is the drawing by Maximilian Messmacher “View of Cologne Cathedral”.

Mixed media watercolor

Many artists combine several drawing techniques in one work.

Methods of combined (mixed) technique:

1. put the first coat of paint on a wet sheet;
2. elaboration of plans, creation of the required degree of blurring;
3. drying the drawing;
4. lay out the next layers of paint in stages;
5. elaboration of medium and near plans.

Basic rule of technology: paper is wetted not all, but in the right area (reserve); the pigment is applied to the surface from top to bottom.

The paper may be wetted in fragments. The artist himself decides which plan to work out by creating watercolor stains. With the help of a sponge, excess water must be removed so that water does not seep into those areas that should remain dry according to the artist's intention. Examples of combined technique in the work of the artist Konstantin Kuzema.

The next question for the artist is the creation of colorful layers. There are single-layer and multi-layer techniques (glazing).

Single layer watercolor technique

To paraphrase the famous satirist, one careless move, and at best you get graphics instead of watercolors. The paint is applied in one layer, adjustments cannot be made. The single coat technique can be applied dry-on-dry and wet-on-dry.

Features of a single-layer watercolor "dry on dry":

• performance literally in one or two touches;
• it is necessary to outline the contours of the drawing in advance;
• choose the colors to use, for the speed of work;
• for colorization, apply shades only on a wet layer;
• more clarity and graphics, less overflow.

Features of watercolor in one layer "wet on dry":

• more overflows, less graphics and clarity;
• apply strokes quickly, until dry, one by one;
• for colorization, have time to add paint when the smear is not yet dry.

A plus in a single-layer technique is the creation of picturesque watercolor overflows. On a dry sheet, it is easier to control the fluidity and outlines of strokes. contemporary artists often hold master classes and post videos on Youtube. The technique of single-layer watercolor can be seen, for example, at the watercolorist Igor Yurchenko.

Those who tirelessly improve the technique of watercolor should master the multi-layer technique (glazing), in which famous masters work.

Multilayer watercolor technique (glazing)

This watercolor technique can give the green light to realist paintings. Glaze- multi-layer technique, applying watercolor with transparent strokes from lighter to darker, one layer on top of the other.

Features of the multilayer watercolor technique:

• realism of the image: a picture in bright, saturated colors;
• the bottom layer of light and transparent strokes should have time to dry before the next application;
• borders of smears are visible;
• paint does not mix in different layers;
• strokes are done carefully, plans are airy, painting in a soft style;
• you can divide the process into several sessions, perform a large canvas.

Glazed watercolor works look like oil or gouache painting. In order for the work not to have such a drawback, one must be able to work with light, apply glazing thinly and accurately.

Sergey Andriyaka is considered an unsurpassed master of multi-layered watercolors. In addition to creativity, the artist is actively involved in teaching, his work and his students are constantly exhibited.

“Oil painting is like driving a limousine, and watercolor is like driving a Ferrari. Not that respectability and safety, but it's really cool," Croatian watercolorist Josef Zbukvic wittily remarked. What is required in order to write a good watercolor, or "to drive a Ferrari with a breeze" according to the artist? He answers: "Follow the watercolor, or just paint."

To draw, you need brushes, paints, knowledge of technique and special effects. You can draw with a dry (wrung out), semi-dry and wet brush (core or squirrel).

Techniques in multilayer technique are also diverse:

1. smears you need to do it according to the principle “the work of the master is afraid”, invent your own technique, making dotted, linear, blurry, figured, continuous and intermittent strokes.
2. fill covers most of the picture with one color, used to ensure smooth color transitions.
3. laundering- applying no more than three layers of paint, one on top of the other after drying to enhance halftones, prescribing details and shadows. In this way the overall tone is achieved.
4. gradient stretch- strokes smoothly pass into each other, each next lighter than the previous one. This is done with the iridescent transition of colors.
5. Paint pull- a clean dry brush makes the tone of the stroke lighter, passes over the paper, collecting excess pigment.
6. Reservation- that part of the sheet that is left white.

Reservation types:

• « detour"- the name speaks for itself, you need to carefully bypass the right places with a brush. In wet watercolors, you need to leave more space for the reserve due to paint leaks.
• mechanical impact: scratching, masking. Avoid damaging the paper with sharp objects and sharp contrasts. Additional materials: razor, wax crayons, etc.
• paint washout dry cloth or wrung out brush. It is possible to use a palette knife if the paint is dry.

You can create watercolors in the technique of grisaille (monochrome), dichrome (with ocher) and multi-color drawings.

You can also combine coloring materials and create special effects:

• Mixing watercolor with whitewash, gouache, watercolor pencils, ink, pastels. This is no longer a pure technique, but a mixed one. What does it give? - clarity (pencils), shading (pastel), wash (ink), book illustrations (pen), reserve (white), linear strokes (watercolor pencils).
• Special effect " drawing on crumpled paper» gives an amazing effect of chiaroscuro on the folds of paper.
• Special effect with salt: salt crystals are applied to the drawing, fantastic stains appear as a result of friction with paper. Suitable for drawing a starry sky or water meadow.
• Special effect " splashing"- this effect is familiar to all 1-2-year-old little ones. It turns out that the technique of splashing exists in painting, and they will not be scolded for it. Using a toothbrush, tiny drops of paint are applied. Suitable for writing the elements, storms, storms.
• Watercolor with tea: For an aged effect on parchment-like paper. The sheet is tinted with tea leaves.
• Special effect with cling film: the film soaked with paint abruptly separates from a sheet of paper. The resulting stains are used as a background.

And again about the principle “the work of the master is afraid”: each artist can create his own, author's techniques and techniques. Sharing or not with others is his business, but each artist is responsible for the originality of his work. As the aforementioned watercolorist Joseph Zbukvic said: “Watercolor is the boss. I'm just her young helper."

INTRODUCTION

Chapter I. ARTISTIC AND HISTORICAL FOUNDATIONS OF LANDSCAPE PAINTING

1 The formation of landscape as a genre of fine art

2 Development of watercolor painting

3 Transfer of the state of the seasons in the paintings of artists

Chapter II. WORK ON THE PRACTICAL PART OF THE DIPLOMA

1 Features of work in the open air

2 Materials and equipment for watercolor work

3 Watercolor Painting Techniques

4 Stages of work on a series of landscapes "Seasons"

Chapter III. QUESTIONS OF THE METHODOLOGY OF TEACHING LANDSCAPE IN SCHOOL

1 Painting tasks when working with watercolors in a fine art lesson

2 Theoretical basis teaching landscape painting

3 Landscape image technology depending on the time of year

4 Psychological characteristic age features students in grades 6-7

5 Experimental and practical work with students

CONCLUSION

BIBLIOGRAPHY

INTRODUCTION

Special Role in aesthetic education belongs to art. A characteristic feature of art is the reflection of reality in artistic images that act on the feelings and consciousness of the child, educate him in a certain attitude to the events and phenomena of life, help to better and more fully cognize reality. The influence of art on the formation of a person's personality, its development is very great. The soul of the child is predisposed to the perception of beauty, the child is able to subtly feel the painting.

Aesthetic education involves familiarization with different types art, the accumulation of aesthetic impressions and images, the awakening of interest in works of art, the first steps towards a conscious creative process, the education of a competent viewer, the ability to understand, contemplate and evaluate works of art, the education of a vision of beauty in all manifestations of life.

Paintings, rich in their ideological content and perfect in artistic form, form an artistic taste, the ability to understand, distinguish, appreciate the beautiful not only in art, but also in reality, in nature, in everyday life. Painting recreates all the richness and diversity of the world. By means of painting, the real world is recreated with spatial depth, volume, color, light, air.

The formation of aesthetic ideas, concepts and tastes in students by painting landscapes with watercolors is a very difficult pedagogical task. Watercolor was chosen as the material. Painting with watercolor helps students to realize themselves. Watercolor is a unique material that can open the way for a child to creativity, develop his artistic abilities, and enrich him aesthetically.

This topic of work is considered relevant today. Recently, the issue of teaching the theory of visual literacy has received more and more attention. A number of methodological manuals have been published, in which certain theoretical provisions of professional skill are revealed: the laws of chiaroscuro, color reflexes, and aerial perspective. Kuzin V.S., Shorokhov E.V., Rostovtsev N.N., Sokolnikova N.M. and others were studying the methods of teaching fine arts.

The object of the study is the role of the transfer of the state of the seasons in landscape painting

Subject of study - landscape painting in watercolor

The goals and objectives of the study are to systematize, expand and consolidate the theoretical and practical knowledge gained during the training; to comprehend the creative process when working on watercolor landscapes and create a series of landscapes “The Seasons”; to develop a block of lessons on painting a landscape in watercolor for secondary school students. To achieve them, the following tasks had to be solved:

· Analyze art history and methodological literature;

· Collect, summarize and systematize the material accumulated during the training;

· Make sketches and sketches from nature, which allow you to develop your own style and find a plot for subsequent work;

· Develop sketches in which to find a character and place for each object, take into account all the principles and laws of composition;

· Develop lesson plans taking into account all knowledge of pedagogy, psychology, teaching methods, perspectives, fine arts;

· Apply the developed outline plans in practice at school;

· Carry out a comparative experiment;

· Analyze and summarize the results of practical work at school.

Research methods - work with literature, observation of the work of children, conversation with children on this issue, a comparative experiment.

An analysis of the literature and practice made it possible to form a general hypothesis of the study: the development of knowledge, skills, aesthetic ideas, concepts and tastes will be more effective if there is a system for the formation of artistic writing skills, the development in children of the ability to analyze the works of masters, work on the development of visual memory, imagination students' fantasies.

Chapter I. ARTISTIC AND HISTORICAL FOUNDATIONS OF LANDSCAPE PAINTING

.1 The formation of the landscape as a genre of fine art

Translated from French, the word scenery (paysage) means nature . This is how a genre is called in the fine arts, the main task of which is the reproduction of natural or man-altered nature. In addition, a landscape is a specific work of art in painting or drawing, showing nature to the viewer. hero of such a work is a natural motive or a natural motive invented by the author. Elements of the landscape can be found even in rock art. In the Neolithic era, primitive masters schematically depicted rivers or lakes, trees and stone blocks on the walls of caves. In the art of the Ancient East and Crete, a landscape motif is a fairly common detail in wall paintings.

As an independent genre, the landscape appeared already in the 6th century in Chinese art. Pictures of medieval China very poetically convey the world around. Spiritual and majestic nature in these works, done mainly in ink on silk, appears as a vast universe that has no boundaries.

In Europe, the landscape as a separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the habitat of the characters.

European miniaturists played an important role in the formation of landscape painting. In medieval France, at the courts of the Dukes of Burgundy and Berry in the 1410s, talented illustrators, the Limburg brothers, worked as creators of charming miniatures for the hour book of the Duke of Berry. These graceful and colorful drawings, which tell of the seasons and their corresponding field work and entertainment, show the viewer natural landscapes, executed with a masterful transmission of perspective for that time.

A pronounced interest in the landscape is noticeable in the painting of the Early Renaissance. And although artists are still very inept in conveying space, cluttering it with landscape elements that do not fit with each other in scale, many paintings testify to the desire of painters to achieve a harmonious and holistic image of nature and man. Landscape motifs began to play a more important role in the High Renaissance. Many artists began to carefully study nature. Rejecting the usual construction of spatial plans in the form of wings, a heap of details that are inconsistent in scale, they turned to scientific developments in the field of linear perspective. Now the landscape, presented as a whole picture, becomes the most important element of artistic plots. So, in the altar compositions, which painters most often turned to, the landscape looks like a scene with human figures in the foreground.

Despite this clear progress, until the 16th century, artists included landscape details in their works only as a background for a religious scene, genre composition or portrait. The clearest example of this is famous portrait Mona Lisa (c. 1503, Louvre, Paris), painted by Leonardo da Vinci. The great painter with remarkable skill conveyed on his canvas the inextricable connection between man and nature, showed the harmony and beauty that for many centuries have made the viewer freeze in admiration before the Mona Lisa .

Gradually, the landscape went beyond other artistic genres. This was facilitated by the development of easel painting.

The masters of the Venetian school played an important role in the creation of the landscape genre. The first artist who attached great importance to the landscape was Giorgione, who worked at the beginning of the 16th century. Nature is the main character of his painting Storm (c. 1506-1507, Accademia Gallery, Venice). The landscape on this canvas is no longer so much the environment in which a person lives, but rather the bearer of feelings and moods. Storm invites the viewer to immerse himself in the world of nature, listen carefully to his voices. The emotional beginning comes to the fore in the picture, calling for contemplation, penetration into poetic world created by the master. The coloring of the picture makes a huge impression: deep, muted colors of greenery and earth, lead-blue shades of sky and water, and golden-pink tones of city buildings. Giorgione had a significant influence on Titian, who later headed the Venetian school. Many of Titian's paintings show majestic images of nature. Shady groves are delightful, in which powerful trees shield the traveler from the scorching sun. Among the thick grass, figures of shepherds, domestic animals and wild animals are visible. Trees and plants, people and animals are the children of a single world of nature, beautiful and majestic. Already in an early painting by Titian Flight into Egypt the image of nature in the background overshadows the sad scene of the flight of the Holy Family to Egypt.

In Northern Europe in the 16th century, the landscape also won a strong position in painting. Images of nature occupy important place in the work of the Dutch artist Pieter Brueghel the Elder. In the paintings dedicated to the seasons, the master showed the harsh northern landscapes in a heartfelt and poetic way. All of Brueghel's landscapes are animated by the figures of people engaged in everyday activities. They mow grass, reap rye, drive herds, hunt. The calm and unhurried rhythm of human life is also the life of nature. With his work, Brueghel seems to be trying to prove: the sky, rivers, lakes and seas, trees and plants, animals and man - all these are particles of the universe, one and eternal. The 17th century saw an extraordinary flourishing Dutch painting and all its genres, the most common of which is landscape. Dutch landscape painters were able to capture on their canvases a comprehensive picture of the world in all its manifestations. The works of artists convey the pride of a person for his land, admiration for the beauty of the sea, native fields, forests and canals. The feeling of sincere and boundless love for the surrounding world is felt in all the works of Dutch landscape painters. Full of lyrical feeling and poetic charm, the paintings depict the surrounding world at different times of the year and at different hours of the day. Most Dutch landscapes are characterized by a muted coloration, consisting of light silver, olive-ocher, brownish hues, close to the natural colors of nature. Laid onto the canvas with fine, precise strokes, these colors convincingly and realistically convey the materiality of the surrounding world.

The realistic art of Spain, Italy and France also played a role in the development of landscape painting. In the work of Diego Velasquez there are landscapes that reflect the subtle observation of the great Spanish master ( View of the Villa Medici , 1650-1651, Prado, Madrid). Velazquez masterfully conveys the freshness of greenery, warm shades of light gliding through the leaves of trees and high stone walls. Velasquez's paintings testify to the origin of plein air painting: leaving the workshops, the artists went to work in the open air in order to better study nature.

In the 17th century, the principles of creating an ideal landscape developed in the art of classicism. The classicists interpreted nature as a world subject to the laws of reason. The French painter Nicolas Poussin, who worked in Italy, became the creator of the heroic landscape. Poussin's paintings, showing the grandeur of the universe, are inhabited by mythological characters, heroes who bring up lofty feelings in the viewer. The artist, who believed that the main goal of art is the education of a person, considered the order and rational structure of the world to be the main value. He painted works with a balanced composition, clearly built spatial plans, and distributed colors according to strict rules.

Nature appears differently on the canvases of baroque masters. Unlike the classicists, they strive to convey the dynamics of the surrounding world, the turbulent life of the elements. Thus, the landscapes of the Fleming Peter Paul Rubens convey the power and beauty of the earth, affirm the joy of being, instilling in the audience a sense of optimism. All of the above can be attributed to landscape with rainbow , on which the master captured expanses leaving the horizon, high hills and majestic trees, a valley with sprawling villages, shepherds and shepherds, herds of cows and sheep. The magnificent landscape is crowned with a rainbow sparkling with delicate colorful hues.

In the 18th century, landscape painting was further developed in the art of France. Antoine Watteau, who was called painter of gallant holidays , painted dreamy scenes against the backdrop of wonderful parks. His landscapes, made with delicate and quivering colors, are very emotional, they convey various shades of mood ( Pilgrimage to the island of Cythera , 1717, Louvre, Paris).

A prominent representative of Rococo art was the French artist Francois Boucher, who created landscapes full of sensual charm. As if woven from blue, pink, silver shades, they seem to be delightful magical dreams ( Landscape near Beauvais , Hermitage, St. Petersburg).

A new attitude to nature appeared in art in the second half of the 18th century. In the landscape painting of the Enlightenment, not a trace of the former idyllic conventionality of art remained. The artists sought to show the viewer the natural nature, erected into an aesthetic ideal. Many painters who worked during this period turned to antiquity, seeing in it the prototype of individual freedom. The beauty of simple rural nature was discovered for the viewer by French landscape painters - representatives of the Barbizon school: Theodore Rousseau, Jules Dupre and others. The painting of Camille Corot, who sought to convey a quivering air environment with the help of valers, is close to the art of the Barbizons. Camille Corot was considered his predecessor by the French Impressionists. The plein air landscapes of Claude Monet, Camille Pissarro, Alfred Sisley reflect the deep interest of artists in the changing environment of light and air. The works of the Impressionists show not only rural nature, but also a living and dynamic world. modern city.

The modified traditions of the Impressionists were used in their painting by post-impressionist artists. From the standpoint of monumental art, Paul Cezanne represents the majestic beauty and power of nature. The landscapes of Vincent van Gogh are full of a gloomy, tragic feeling. The reflections of the sun on the surface of the water, the quivering of the sea air and the freshness of greenery are conveyed by the canvases of Georges Seurat and Paul Signac, made in the divisionist technique.

A special place is occupied by the landscape in Russian painting. For the first time, landscape motifs, transmitted schematically, appeared in ancient Russian icon painting. The figures of Christ, the Mother of God, saints and angels on ancient icons were depicted against the background of a conditional landscape, where low hills marked a rocky area, rare trees, the breed of which could not be determined, symbolized the forest, and buildings, devoid of illusory volumes, were temples and chambers.

The first landscapes that appeared in Russia in the 18th century were topographical views of magnificent palaces and parks. During the time of Elizabeth Petrovna, an atlas of engravings with views of St. Petersburg and its environs was published, made according to the drawings of M. I. Makhaev. But only with the advent of the works of Semyon Fedorovich Shchedrin can we say that the landscape as a separate genre was formed in Russian painting. Contemporaries of Shchedrin, M.M., made their contribution to the development of the landscape. Ivanov and F.Ya. Alekseev. Alekseev's painting influenced young artists - M.N. Vorobiev, S.F. Galaktionova, A.E. Martynov, who dedicated their art to St. Petersburg: its palaces, embankments, canals, parks.

M.N. Vorobyov brought up a whole galaxy of remarkable landscape painters. Among them were the brothers G.G. and N.G. Chernetsov, K.I. Rabus and others. A number of wonderful lithographic watercolor landscapes with views of the environs of St. Petersburg were made by A.P. Bryullov, brother of the famous K.P. Bryullov, who later became an architect. But the works of these masters fade next to the paintings of Sylvester Feodosievich Shchedrin, who captured the bright beauty of Italian nature on his canvases.

By the middle of the 19th century, certain principles of the aesthetic perception of nature and methods of displaying it were formed in Russian landscape painting. From Vorobyov's school come the romantic traditions adopted by his students. Among them is the early deceased M.I. Lebedev, L.F. Lagorio and I.K. Aivazovsky, whose main theme of art was the sea. A special place in Russian painting is occupied by the work of A.K. Savrasov, who became the founder of the national lyrical landscape. Savrasov influenced his student and friend, the landscape painter L.L. Kamenev. In parallel with the lyrical trend in Russian landscape painting, an epic landscape developed, a prominent representative of which was M.K. Klodt, who strove to create a landscape-picture that presents the viewer with a holistic image of Russia.

In the second half of the 19th century, such famous artists as I.I. Shishkin, F.A. Vasiliev, A. Kuindzhi, A.P. Bogolyubov, I.I. Levitan. The traditions of the lyrical Levitan landscape were picked up by those who worked on turn of XIX-XX centuries by painters I.S. Ostroukhov, S.I. Svetoslavsky, N.N. Dubovsky.

Landscape painting of the 20th century is associated with the names of I.E. Grabar, A.A. Rylova, K.F. Yuon. In the spirit of symbolist art, P.V. Kuznetsov, N.P. Krymov, M.S. Saryan, V.E. Borisov-Musatov. In the 1920s, the industrial landscape developed (interest in this kind of landscape genre is especially noticeable in the work of M.S. Saryan and K.F. Bogaevsky).

1.2 History of the development of watercolor painting

Watercolor is one of the most complex and mysterious techniques. Its secret, at first glance, is quite simple: very finely ground pigment particles dissolved in water create a transparent paint layer, permeable to light rays, which, reflected from the white surface of the paper, increase the intensity of the color sound. But the secret of charm, the invariable attractiveness of watercolor technique, its eternal youth and relevance remains unsolved. The free flow of tones, the softness of transitions and the saturation of coloristic harmonies, the active role of paper, its tone and texture - all this gives watercolors an incomparable charm and sophistication. Almost not allowing alterations and edits, this technique requires special sensitivity from the artist, fidelity of the eye and hand, virtuoso mastery of color and form. For a real master, it gives the possibility of an infinite variety of effects.

The historical picture of the development of technology is complex. It does not develop into a single and progressive evolutionary process, although the general trend aimed at understanding the features of the plastic language, the formation of an aesthetic that is different from other types of painting, can be traced quite definitely. In watercolor work, the artist's temperament is revealed to the utmost, the very nerve of his creative individuality is exposed - the sense of color, the degree and nature of coloristic talent. That is why the history of watercolor shows an abundance of directions, a wealth of independent manners, styles and handwriting, as if competing in their originality.

Along with the bright achievements of great masters, which mark the heights of its capabilities, the general culture of watercolor is extremely important, created by the work of a wide range of professionals, and sometimes just amateurs, and reflecting the worldview of a generation.

The history of watercolor in Russia dates back to the 18th century - it was used to “illuminate” engravings and architectural projects. At the end of the century, watercolor becomes an independent art form, with its own means of expression and artistic language.

The technique of watercolor came to Russia, as well as to many European countries from England. In the practice of English watercolors, a certain system of methods of working “in a raw way” has developed, the paint was applied in a wide fill. The general tone subjugated the rest of the colors - the artistic impression was built on gradual, barely perceptible tonal transitions. The earliest examples of this “English manner” are the watercolor landscapes of M.M. Ivanov, as well as the work of G.I. Skorodumov “Portrait of I.I. Skorodumov” (1790s), which is of great interest, since its author lived in England for a long time and perceived the English watercolor technique in its purest form.

The birthplace of the variety of watercolor, which became widespread a little later, was Italy. In Italian watercolor, the artist paints with glazing. The tones are superimposed one on another gradually, after the previous layer has dried, the color gradations intensify from light to dark with strokes. Italian watercolor was distinguished by sonorous multicolor, plasticity, brightness and intensity of color. The conductors of the "Italian manner" were members of the vast Russian art colony in Rome, pensioners of the Academy of Arts and, above all, K.P. Bryullov. The landscape genre played an important role in the development of watercolor in Russia. Here, along with works executed exclusively in watercolor, there are also works that combine watercolor with gouache - “View of the Tsarskoye Selo Park” (1793) by F. de Meis, “The Mill and Piel Tower in Pavlovsk” (not earlier than 1797) S.F. Shchedrin, as well as gouache with a “watercolor effect”, for example, “Pond in the park of Tsarskoye Selo” (early 1810s) by A.E. Martynov. They demonstrate the process of understanding the differences in the properties of water-soluble paints, their interaction with paper, which took place at the turn of the century.

An important line in the formation of the watercolor landscape genre was architectural views and fantasies - veduta - performed by architects. Among such works is “Italian landscape. Rome "(1762-1764) V.I. Bazhenov, "Kazan Cathedral in St. Petersburg" (1800) A.N. Voronikhin, Landscape with Ruins (1800s) by G. Quarenghi. F.Ya. Alekseev. His sheets "View of the Mikhailovsky Castle in St. Petersburg" (1799-1800), "View of the Kazan Cathedral" (1810s) are distinguished by the elegance of technology. Transparent pearl shades of color, perfection of architectural forms, skillfully placed color accents of staffing figures give the captured ensembles the charm and harmony of the ideal. Alekseev's traditions were continued by his student M.N. Vorobyov, who created one of the most penetrating images of Petersburg in Russian art. In his drawings from travels undertaken to "take pictures", topographic accuracy is combined with amazing freedom, the emotionality of the manner of execution - with the extreme conventionality of the artistic language.

The watercolor landscape has become widespread, both among professional artists and among amateurs. Amateur drawing in general and watercolor in particular is an essential component of the art of the early 19th century. From among amateur artists come such great masters as P.A. Fedotov and F.P. Tolstoy. Fedotov's early watercolors (paired portraits of the Kolesnikovs, 1837; The Walk, 1837; The Jägers Fording on Maneuvers, 1844) have a special fascination for immediacy and sincerity. Tolstoy's work is an unexpected turn in the development of watercolor. They can be relatively conventionally classified as this technique: the artist himself rubbed and prepared paints, which were a cross between gouache and watercolor. Author's paints made it possible to use the advantages of both techniques - to work with body strokes and the finest glazes.

The intensity and fruitfulness of watercolor depended on the degree of its demand, on how much its language corresponded to the aesthetic categories of the era. In the era of romanticism, watercolor for the first time truly acquires independence. The portrait was introduced into the rank of the leading genre of that time. Sometimes it seems that the artistic images created by the masters of the first half of the 19th century not only embodied, but also shaped the idea of ​​the ideal of the era - the mental structure of the model, its very appearance, demeanor.

Interesting for this time are the works of K.P. Bryullov. A master of genre scenes and landscapes, Bryullov introduces their elements into a portrait, such a form both complicating the painting task and allowing the artist’s powerful coloristic gift to fully manifest itself, liberating his “ardent artistic temperament and prolific imagination.”

The unique watercolor heritage of A.A. Ivanova. This is still an unsurpassed frontier of mastery of technique and an absolute expression of its essence. The artist turned to watercolors, already having extensive experience in oil painting. Even his first graphic works (“The Groom Choosing Earrings for the Bride” 1838; “October Holidays in Rome” 1842) amaze with courage and perfection. One can feel the artist's enthusiasm for the opportunities that have opened up. For Ivanov, watercolor is a technique of pictorial quest, the acquisition of a new color and lighting solution for space. The natural landscapes of the mid-1840s - 1850s (“Sea on the coast of Naples”, “Boats”, “Water and stones”), painted quickly “in one breath”, allow the viewer to feel the process of the birth of the image from the first to the last movement. The theme of many of Ivanov's watercolors is sunlight. As if realizing the uniqueness of the artistic task, the master noted works of this kind with a special explanation "performed in the sun." The watercolor "Terrace entwined with grapes" presents Ivanov's famous experimental album, composed of almost monochrome sketches from nature. In them, dazzling sunlight, embodied in the radiant whiteness of a sheet of paper, arbitrarily changes the shape and color of objects, generalizes outlines, creates the effect of a moving light-air medium, trembling, iridescent matter.

The pinnacle of Ivanov's work is undoubtedly his "biblical sketches". In biblical sketches there is no uniformity of technical overflows - they vary, combine, are born anew in connection with one or another pictorial task. In some sheets, the paints are almost immaterially transparent, in others, the watercolor becomes multi-layered and acquires a density and weight of sound. In compositions executed on dark papers, the effect of a bewitching inner glow is achieved by using white. The fate of A.A. Ivanov was formed in such a way that it had practically no impact on the art of contemporaries and immediate descendants. Known only to a very narrow circle of people, the watercolors were carefully kept by the artist's brother S.A. Ivanov and M.P. Botkin, according to the will of the author, who realized the "prematureness" of his discoveries. Partially published in the 1870s - 1880s, they only then became important fact artistic life that influenced the generation at the turn of the 19th and 20th centuries.

After the almost simultaneous departure from the stage of the outstanding masters-watercolorists P.F. Sokolova, K.P. Bryullov and A.A. Ivanov's watercolor is going through a very difficult period, marked by serious changes in the understanding of the task and purpose of art emerging in society. The refined aesthetics and refined culture of watercolor with the conventions and artistry of its language in the 1860s did not quite correspond to the social tasks that were put forward by the new artistic era. The position of watercolor remained unshakable only in such traditional areas of application for it as landscape views, the "Italian genre", costumed portraits. Traditions and professionalism of performance were carefully preserved here. Carefully designed "picture" sheets of K.F. Guna, F.A. Bronnikova, L.O. Peremazzi, I.P. Raulova, A.A. Rizzoni, L.F. Lagorio treat watercolor as a technical kind of painting. The works of artists who adopted this tradition demonstrate a very natural and non-conflicting change of generations of watercolorists - "conservatives".

In the middle of the 19th century, watercolor explored new areas of application - natural studies, illustration, critical everyday genre, satirical sketches. Each of these genres modestly enriches the technique with some special features. IN everyday scenes P.M. Shmelnikov, the principle of interaction between watercolors and a pencil drawing, laid on top of a layer of paint that has not yet dried out, is being worked out, “there is a combination of two principles - pictorial and graphic”. In the sketches and sketches of paintings by the Wanderers, the natural and even inevitable effect of incompleteness begins to be recognized as a special advantage of technology, an important aesthetic device.

In the 1870s, the younger generation of artists, as it were, rediscovers the possibilities of watercolor. It is not public, it is a technique "for oneself", giving absolute freedom of expression. So completely unusual, “unknown” Kramskoy is shown to us by his landscape “Gate in the Garden” (1874), “Country Courtyard in France” (1876), “In the Meudon Grove near Paris” (1876), “Gapsal » (1878). It is hard to believe that the cheerful multi-colored works, executed with inspiration and artistic, belong to the brush of the artist, who in painting is distinguished by prudence, emotional restraint, stingy colors. What is striking is not so much even the “outdatedness” of these small masterpieces, their discrepancy between the pictorial manner of Kramskoy the artist and the system of views of Kramskoy the art theorist and public figure, but the very power of his coloristic talent, which did not find an outlet in painting practice.

Since the 1860s, the line of landscape development in sepia has been very intensively built in the works of L.F. Lagorio, A.P. Bogolyubov, F.A. Vasilyev and I.I. Levitan. They are united by the nobility and artistry of performance, based on the endless variety of techniques for handling the brush, the nature of its touch to the paper, on the varying degree of surface elaboration and loading of the paint layer.

For many Wanderers, the appeal to watercolor was a single, episodic one. However, in watercolor, the results of their artistic searches appear earlier or are read more clearly. Thus, a comparison of the works of I.I. Levitan and V.A. Serov in the 1890s - 1900s allows us to capture that moment in the history of the landscape, when a “psychological landscape” is born in watercolor, conveying the state of nature, its mood - “The gentle, transparent charm of Russian nature, its sad charm.”

A powerful impetus in comprehending the features of the language of watercolor and understanding its aesthetic possibilities is given by the introduction of the study of this technique into the program of higher artistic educational institutions. In many ways, a new take-off in watercolor painting at the turn of the 19th - 20th centuries is associated with the activities of P.P. Chistyakov, it was carried out by his students - V.I. Surikov, V.A. Serov and M.A. Vrubel. The phenomenon of the “Chistyakov school” lies in the dissimilarity of the artists who came out of it. Chistyakov had a special gift for identifying and developing individual traits, the manner of writing each of them, "to show the way" (in the words of Surikov).

In the artistic system of Surikov, and perhaps in his life, watercolors have a special place. In this technique, he constantly worked for almost 50 years. The evolution of his watercolor style is obvious. Its beginning is indicated by the Siberian cycle, performed in the summer of 1873 before classes with Chistyakov. These landscapes are united by a coloristic solution built on bluish-green, "not knowing the sun" shades, "as if prompted to the artist by the most severe Siberian nature." A series of Italian watercolors of 1883 - 1884 - masterpieces of watercolor painting by Surikov. He is subject to the pearl haze of morning light playing on the white walls of cathedrals, the blinding brightness of Pompeian frescoes, the riot of carnival colors. He writes with an “airy, cobweb brush”, transparent tones, barely touching the paper, and layered glazes, and short, “daring” strokes of the brush, and wide iridescent streaks. Another famous series of watercolors - Spanish - was created in 1910 during a joint European tour by V.I. Surikov and P.P. Konchalovsky. The rivalry that naturally arose between them was not just a competition between two wonderful colorists, representatives of different generations, but a fruitful clash of different artistic systems for both. Surikov's watercolor, being a very sensitive instrument, absorbs the features of the art of the New Age. The expression of color, ego emotional tension, the sharpness of dissonant juxtapositions, the cult of incompleteness change his watercolor system: he paints with sweeping brush movements, wide free fills on wet paper, bringing “the colorful sonority of watercolor almost to a paradox, to overstrain.” Such are "Seville", "Bullfight in Seville".

In the work of the younger students of Chistyakov - Vrubel and Serov - watercolor acquires significance comparable to their paintings. Working literally side by side, "hand in hand", each of them went his own way in watercolor. Endowed equally generously with the talent of a draftsman and colorist, Serov developed such a system of writing in watercolor, where line and color are inseparable. He saw objects in a generalized way, embodying them on a sheet of paper as laconic plastic formulas, with one movement of the brush he modeled the form and gave it color. By its nature, Serov's watercolor gravitates towards graphics, obeying the laws of this art form in relation to the surface of the sheet, the principles of constructing space and form, and the degree of conventionality of the language. The color range of the artist's works is restrained, built on a multiplicity of the finest gradations of tone, a variety of nuances and shades, its noble gray color is able to express all the color diversity of the world. His watercolor sketches “On the Road” (1900s) and “Greece. Island of Crete "(1907). Approaching them to a certain boundary of the objective world, to the limiting degree of conventionality of the language, acceptable within the framework of the plastic system of that time, Serov touches on the tasks of the future artistic generation.

Vrubel had a rare predisposition to work in watercolor. It is amazing that already his first watercolor opuses “The Head of a Girl” (1882), “E.M. Boehm Seated in an Armchair (1882), Over a Mug of Beer (1883), performed while studying at the Academy, are devoid of a touch of apprenticeship and betray the hand of a mature watercolorist. The artist instantly realized the great prospects that the watercolor technique opened up precisely to his artistic needs. Vrubel's watercolor style is very diverse: in The Persian Prince (1886) he stratifies the space of the sheet with the smallest strokes, carefully nuanced in color, scrupulously following the form; in “Portrait of the Artist T.S. Lubatovich” (1890s) creates an image with large spots, free streaks, as if obeying the whimsical flow of paint. In his famous "Rose" (1904), Vrubel thoughtfully constructs the form, as if trying to penetrate the secrets of the structure of nature, to convey the energy of the tight petals of a blossoming flower. In the almost colorless monochrome illustrations for The Demon by M.Yu. Lermontov (1891), endlessly varying the methods of applying paint, Vrubel created a special vibrating moving environment - an analogue of the poetic matter of Lermontov's text. The choice of "style" was determined only by the requirements of a specific design, artistic image.

Apart in the history of watercolor is the work of V.E. Borisov-Musatov. The artist comes to her only in the last years of his life - in the period of full possession of the pictorial form. The color saturation and tangibility of the texture of his works in oils and tempera in the late watercolors Balcony in Autumn (1905) and Requiem (1905) turn into transparency, the “immateriality” of color, the play of halftones, muted blurry colors, melting shadows.

A revival of general interest in watercolor occurred in the last decades of the 19th century. Regular exhibitions, the creation of the "Society of Russian Watercolors" (1887) contributed to the widespread dissemination of technology, raising its status. The program of the Society did not have an ideological orientation; representatives of different directions united by passion for the art of watercolor. M.Ya. Willie, E.S. Villiers de Lisle-Adan, P.P. Sokolov, R.F. Ferenc, I.A. Alexandrov, A.S. Egornov, R.A. Bergholtz, Albert N. Benoist. Some of these artists worked exclusively as watercolorists and, perhaps, therefore, remained almost invisible to the "general" history of art. Nevertheless, the Society of Russian Watercolorists undoubtedly fulfilled the task of preserving and transmitting the traditions of the watercolor school of the early 19th century and preparing for a new rise in watercolor. Watercolor was again perceived as an independent area of ​​fine art with its own language.

Many representatives of the Society became teachers for the next generation of artists. So, under the guidance of the brilliant master Albert Benois, many future members of the artistic association "World of Art" L.S. mastered this technique. Bakst, A.N. Benois, K.A. Somov. It is interesting that the creators of the highest graphic culture - the "world artists" of the older generation - in their work did not often turn to the technique of pure watercolor. In "graphic paintings", fantasies on a historical theme, they gravitated towards denser corpus writing and preferred gouache and tempera, but the methods of working in these techniques often remained watercolor.

The Soviet watercolor school adopted and continued the traditions of the professional skills of artists of previous generations. The role of watercolor painting was emphasized by extensive All-Union watercolor exhibitions, the first of which took place in Moscow in 1965. Among the Russian masters of the twentieth century are the names of Nikolai Tyrsa (1987-1942), Sergei Gerasimov (1885-1964), Anna Ostroumova-Lebedev (1871 - 1955), Georgy Vereisky (1886-1962), Vladimir Konashevich (1888-1963), Alexander Samokhvalov (1894-1971), Semyon Pustovoitov (1921-1995), Vladimir Vetrogonsky (1923-2002), Viktor Semenovich Klimashin (1912-1960).

This is in general terms the history of the development of Russian watercolors. Its peculiarity lies in the fact that in Russia there was no separate training of narrow professional watercolorists. The growing interest in watercolors, which began at the end of the 20th century, changed the situation. Currently, there are quite a lot of professional watercolor artists and schools of watercolor painting. Watercolor is an integral part of children's learning classical painting.

1.3 Transfer of the state of the seasons in the paintings of artists

The landscape has won the place of one of the leading genres of painting. His language has become, like poetry, a way of expressing the high aesthetic feelings of the artist, a field of art in which deep and serious truths about the life and destinies of mankind are expressed. Looking at the works of landscape painting, listening to what the artist tells about, depicts nature, we learn the knowledge of life, understanding and love for the beauty of the world and man. Nature is one of the natural manifestations of miraculous beauty, so its aestheticism has always attracted artists, many of whom creative life and the title of "landscape painter" was fixed. Everything in Russian nature is changeable in color and condition. Diverse in shades and degree of color saturation autumn forest. Different states of water, which takes on the color of the sky and surrounding shores, changing under the influence of strong or weak winds, road puddles, different colors of the air itself, fog, dew, hoarfrost, snow. An eternal masquerade, an eternal celebration of colors and lines, perpetual movement within a year or a day.

Russia has a continental climate, and it creates a particularly severe winter and a particularly hot summer, a long spring, iridescent with all shades of colors, in which every week brings something new with it, a protracted autumn, in which there is also its very beginning with extraordinary transparency of the air. , characteristic only of August, and late autumn.

"Seasons" have become in painting a way to comprehend secret meaning nature, the intimacy with which every artist dreamed and dreams.

Nature has not woken up yet

But through thinning sleep

She heard spring

And she involuntarily smiled. (F.I. Tyutchev)

Nature has not woken up yet in the paintings of Alexei Kondratievich Savrasov. Entering his world spring pictures, the viewer, as it were, walks through the melted snow to the squalid huts, to the hedges, along the wet road, and in front of him open far-reaching fields still covered with snow and high skies. Ordinary and modest foregrounds are combined in Savrasov's paintings with the epic expanse of a distant view. This consonance of the intimate with the majestic, the lyrical with the epic is deeply organic for Savrasov and is inherent in all his best works. It is not abstract, but deeply concrete. It is difficult to find paintings more modest and miserable in plot than Savrasov's springs. But they exude such charm, such a Motherland, such tender intimacy and love that it is impossible to tear oneself away.

“Go write, because spring is already puddles, sparrows are chirping, it’s good. Go write, write sketches, study, the main thing is to feel,” Savrasov liked to say to his students in early spring.

Already in the early works of the artist, Savras's favorite motif gradually emerges - the image of a lyrical landscape with a detailed and loving narrative, in which many humanized details take on such a significant role. “He tries to find in the most simple and ordinary those intimate, deeply touching, often sad features that are so strongly felt in our native landscape and so irresistibly affect the soul,” Levitan later writes.

One of the most famous spring paintings by Savrasov - "The Rooks Have Arrived" (1871) is a modest landscape, familiar to the smallest detail to any inhabitant of central Russia, filled with high poetry and lyricism. Under the cloudy and dank sky of the outskirts of a deaf provincial town, one can feel the soul and pain of a Russian person. In the foreground there is a group of crooked birches, in the branches of which the arrived rooks equip their massive nests. Behind them, among the gray log houses, the hipped bell tower of the village church rises, and in the distance vast fields turn blue with melted snow. Through the transparent and moist air, the movement from right to left of soft light from oblique rays is transmitted spring sun. Light shadows of birches lie on the slightly darkened, but still white snow, and a pinkish-golden glow from the sun is noticeable on the hillock near the fence. A soft, finely designed laconic color scheme, in which cold and warm tones change imperceptibly within the same color, most reliably conveys the state of nature, just awakened from a long winter sleep by a light breath of warm wind.

Russian nature, the constant change of its states, the appearance of the native land, the relationship between man and nature - this is what is the main thing in the work of I.I. Levitan. Nature lives in his canvases, and sadness, and joy, and thoughts of the artist are felt in it. This soulful artist painted with great love and warmth our modest Russian nature, full of quiet charm.

Skillfully using color, drawing, composition, Levitan masterfully conveys the mood of early spring in the painting "March". He is not looking here for complex plots and expressions of great philosophical and social ideas, but, as it were, returns to the former simplicity of the motive. The plot of the painting "March" is extremely simple, and the image is uncomplicated. The thawed road in front, on the right - the corner of a wooden house and a horse harnessed to a sleigh in front of the porch, snowdrifts of melting snow and trees of the estate - that's all that is depicted in this wonderful picture, full of poetry, awakening nature. Its inner theme, its essential content, is this experience of the joyful and exciting awakening of nature.

In its striking freshness and vitality, the painting "March" seems to be a study. However, everything in it is verified and compositionally accurate. To the wall of the house on the right corresponds to the left a bunch of deciduous trees against the background of a dark mass of dense pine needles; trees with their thin tall trunks, depicted both on the right and on the left, seem to lean towards each other. In the center of the picture in the foreground is the road, and behind the wall of the forest closing the depth. A horse with a sleigh is placed just at the intersection of the paths.

The snow is especially richly and intricately written, sometimes grayish with a contaminated crust, sometimes sparkling, loosened, sometimes illuminated, sometimes in blue shadows. All this colorful richness of the picture is the shades, transitions and reflections of the three primary colors: yellow, blue and green with the addition of white. The yellow color, concentrating on the wall of the house through the reddish-red shades on the seams of the boards, on the shadow on the door, is visible in the treetops in the center in the depth and in the sky, thus entering the blue zone; further it can be traced in the needles of pines on the left and, finally, in the brown hair of a horse. The blue color, which mainly colors the spring sky, turns into blue in the shadows from the trees on the left, and into grayish-bluish - in the shaded masses of snow in the depths, and into greenish-gray - in the shaded part of the strongly protruding cornice of the house, in the windows. Finally, green color most intensely and openly visible in the needles of pines, changing from light to dark and combined here with brownish. All these three primary colors, as it were, are combined in the intricately painted trunks of deciduous trees and in the rutted road, which is especially complex in color.

The plot of the spring resurrection of nature, optimistic, bright and joyful, is the basis on which the bright, lyrical content of the painting “Spring. Big water. This is one of the thinnest lyrical pictures Levitan. It is filled with truly spring light and quiet joy, surprisingly "song" and "musical" in all its internal and external compositional rhythm. Carefree, bright joy, some kind of calm fullness comes from the picture.

The color of the picture is formed from subtle shades and transitions of the three primary colors - blue, yellow and green. The blue gamut dominates in accordance with the main motive of the picture. It combines the yellowness of the coast, turning into a brownish-pinkish tone of last year's foliage and swollen birch branches, with brownish tree trunks and the colors of the boat outside and inside. Green color only complements and enlivens this blue and yellow range. It is noted in concentrated form, as a spot of color, only in a single herringbone among the trees and then as greenish tints in the trunk of an oak adjacent to the herringbone, in the color of barns in the distance and on the shore in the depths to the left.

Blue is naturally the most developed. The water is especially rich in shades: in the distance, near the flooded sheds, it is dark blue, then its lighter strip is given, again darker in the swell strip and again brightening in the middle of the picture, in order to darken again in front. A variety of shades and a light blue sky with light clouds, bluish at the bottom and white at the top. White clouds are combined with the color of the birch trunks, where all the colors of the gamut of the picture are located along with it - from brown, with which the trunks are outlined in places and their dark spots are indicated, and to yellow-greenish. The trees and their reflections emphasize the front plane to a certain extent, and the water shines through them. At the same time, these thin, like a “hedge”, tree trunks and their reflections, like the light blue scale, give the picture airiness.

The sketch "First Greenery. May" (1883) literally radiates a feeling of spring joy - an extremely simple image of a lawn in front of the front garden allows you to feel with what tenderness the artist looked at the greenery of the blossoming foliage, at the yellow path flooded with sunlight with blue "heavenly" reflexes.

What a summer, what a summer!

Yes, it's just witchcraft ... (A.S. Pushkin)

Summer. Even the very name of this season is incredibly warm and soft, it blows with a pleasant caressing exciting breeze. Summer is hot and cool, dry and rainy, depicted in their paintings by Russian artists.

One of these artists was Ivan Ivanovich Shishkin. Like many Russian artists, he naturally had a great talent for the nugget. No one before Shishkin, with such stunning openness and with such disarming secrecy, told the viewer about his love for his native land, for the discreet charm of northern nature. “The poet of nature,” wrote V.I. Nemirovich-Danchenko, precisely the poet who thinks in her images, analyzes her beauty where a mere mortal will pass indifferently.

To determine the "face" of the landscape, Shishkin preferred the coniferous forest, which is most characteristic of the northern regions of Russia. Shishkin strove for a realistic depiction of the forest, so that the species of trees could be guessed. But this seemingly protocol fixation contained its own poetry of the infinite originality of the life of a tree. In "The Cutting of the Forest" this can be seen from the elastic roundness of the sawn spruce, which seems to be a slender antique column crushed by the barbarians. The slender pines on the left side of the picture are tactfully painted with the light of the fading day. The subject plan, beloved by the artist, with ferns, lush grass, damp earth torn apart by rhizomes, an animal in the foreground and a fly agaric, contrasting with the solemn and echoing forest - all this inspires a sense of rapture with the beauty of the material life of nature, the energy of forest growth. The compositional construction of the picture is devoid of static - the verticals of the forest intersect, are cut diagonally by a stream, fallen fir trees and growing "irritably" tilted aspens and birch trees.

“Expansion, space, land, rye, grace, Russian wealth,” Shishkin wrote on the back of the preparatory drawing for the painting “Rye” (1877). The viewer feels the same when looking at this canvas.

The very name "Rye" to a certain extent expresses the essence of the depicted, where everything is so wisely simple, and at the same time significant. This work is involuntarily associated with the poems of A. V. Koltsov and N. A. Nekrasov - two poets whom Shishkin especially loved.

All rye around, like steppe, alive,

No castles, no seas, no mountains.

Thank you dear side

For your healing space.

So Nekrasov wrote after returning from abroad in the poem "Silence".

Ripe rye, filling the picture with a golden tint, with ears of roaring, swaying from the wind, spilled around like an endless sea. As if from under the feet of the viewer, a field path runs forward, meandering and hiding behind a wall of rye. The motive of the road, as if symbolizing the difficult and mournful path of the people among the artists of the accusatory direction, acquires a completely different, joyful sound from Shishkin. This is a bright, "hospitable" road, calling and alluring into the distance. Shishkin's life-affirming work is in tune with the worldview of the people, who associate the idea of ​​"happiness, contentment of human life" with the power and richness of nature.

“Rye” is one of Shishkin’s most successful things in general,” wrote I. N. Kramskoy in his letter to Ilya Repin. Thanks to a wide linear perspective and color generalization in the transfer of a field of ripe rye and an almost lifeless air environment, the painter achieves a monumental narrative. The landscape is deliberately static, as if captured by the artist for eternity. This feeling is not interrupted even by swallows gliding over the road in rye. Shishkin admires the greatness and power of the Russian open spaces and conveys his delight to us. True to himself, he even chose pine trees for this picture not by chance. He wanted to show long-lived heroes - evergreen coniferous trees, and not birches fluttering in the wind. Both the compositional and purely pictorial solution of the picture are subordinated to one thing - the glorification of the strength and wealth of native nature.

Good and carefree to me

On the grass, among the green birches,

In a quiet and unknown side! I.A. Bunin

Levitan's painting "Birch Grove" (1889) was built on movement and on the play of lighting. The play of light, the movement of shadows serve as the basis and means of expressing the "mood" in this picture. Spots of light and shadow invite the viewer to delve into the image, where the clarity of the outlines of objects is lost and the birch grove merges into common green spots. The play of light on the birch trunks makes them not only quivering and alive, but as if transparent. This transparency and tenderness is given to them by rich color, which conveys the play of light and shadows on the trunks. Here, along with white, pasty spots, there are smaller pink, brown and additional bluish-green colors. They find support in the image of small purple flowers and yellow reflections of light in the grass and above in the foliage.

The shadows were interpreted there as bluish, then as pearl. In the picture “The Birch Grove”, penetrated by the sun, shining, as if radiating emerald light, the color rendering of the relationship between light and dark has acquired remarkable purity and immediacy. From the picture it seems to breathe freshness and smells of a sunny summer day in the forest.

Nowhere else did Levitan come so close to impressionism in his painting, he approached it on his own, not yet knowing the works of French artists and not seeing other manifestations of impressionism, except for the sketches of his peer and comrade K. Korovin. In fact, the composition itself is impressionistic with its cut of birch trunks and their tops by the edge of the picture, the composition, as if immediately introducing us deep into the image, to this grass under the canopy of birches, immersing us in the air filled with the fragrance of greenery heated by the sun, permeated with light. The dynamics of the image is also impressionistic, manifesting itself in the seeming “randomness” of the choice of the point of view and the location of the trunks, and in that light rhythm of movement that permeates everything in the picture. This is a movement that does not have a specific direction, but as if “fluttering”.

Spirituality, special poetry, romanticism and depth of feelings acquired images of nature in the painting of the exceptionally gifted, but early deceased landscape painter Fyodor Aleksandrovich Vasiliev. "The Return of the Herd" (1868) - she is from Vasiliev's early paintings. From a rapidly approaching thunderstorm, a herd hurries to the village, a peasant woman with luggage and a girl are in a hurry, and the viewer vividly feels the anxiety that has gripped people, animals and all nature. The artist achieves this by finely calculated means of compositional and light-color construction. The central motif that organizes the picture space is a country road. Directly from the bottom edge of the picture, it goes from left to right, but immediately turns sharply from right to left, in order to turn right again in the distance and hide behind a group of trees that close the foreground. Such a decision of the compositional axis, already at the first glance at the landscape, gives the viewer a feeling of anxiety and anxiety. The foreground of the picture is written in a very generalized and almost sketchy way.

Finding nothing here that would require careful consideration, the viewer, following the light ribbon of the road with his eyes, shifts his attention to the background, where he encounters the swift oncoming movement of a herd and two human figures. The feeling of anxiety intensifies, there is a feeling of confusion, supported by the same distribution of black and white spots. The figures of a peasant woman and a girl, animals in the foreground are brightly illuminated by a beam that has broken through the clouds, but further on everything is immersed in a deep shadow. The sharp contrast of light and shadow further enhances the state born of the approach of a thunderstorm, a gust of wind bending the branches of trees. Having filled the near plans with dynamics, Vasiliev left the distances calm and relatively bright. Such a solution has deep meaning for the landscape image as a whole as the artist's first attempt to express the character of Russian nature: the breadth of its open spaces, the calm smoothness of the horizon lines.

Sad time! Oh charm!

Your parting beauty is pleasant to me -

I love the magnificent nature of wilting,

Forests clad in crimson and gold ... (A.S. Pushkin)

The softest and most touching poems, books and paintings are written by Russian poets, writers and artists about autumn. Levitan, like Pushkin and Tyutchev and many others, was waiting for autumn, as the most precious and fleeting time of the year. Autumn removed from the forests, from the fields, from all nature, dense colors, washed away the greens with rains. The groves were made through. The dark colors of summer gave way to timid gold, purple and silver. Not only the color of the earth changed, but the air itself. It was cleaner, colder, and far deeper than in summer. “None of the artists before Levitan conveyed with such sad force the immeasurable gifts of Russian bad weather.”

Rainy, but quiet and thoughtful autumn day is depicted in the painting “Autumn Day. Sokolniki (1879). Large pines have raised their peaks high into the sky, and next to them on the sides of the alley are small, recently planted maples in golden autumn dress. The alley goes far inland, slightly bending, as if drawing our gaze there. And right at us, in the opposite direction, a pensive female figure in a dark dress is slowly moving.

Levitan strives to convey the humidity of the air of a rainy autumn day: the distance melts in a haze, the air is felt both in the sky and in bluish tones below, under large trees, and in the blurring of the outlines of tree trunks and crowns. The overall muted color scheme of the painting is built on the combination of the soft dark green of the pines with the gray sky, the blue tones below them and in contrast with the warm yellow of the maples and their fallen leaves on the path. Airiness, that is, the image of the atmosphere, plays a crucial role in conveying the state and emotional expressiveness of the landscape, its autumn dampness and silence. Levitan replaces the subject-matter and detailing of his previous landscapes with a broader style of painting. Rather, it denotes trees, their trunks, crowns, maple leaves. The picture is painted with liquid diluted paint, the forms of objects are given directly by a brush stroke, and not by linear means. This manner of writing was a natural desire to convey precisely the general state, so to speak, the "weather" of the landscape, to convey the humidity of the air, which, as it were, envelops objects and erases their outlines.

Contrasting the vastness of the sky and the height of the pines with a relatively small figure makes her so lonely in this deserted park. The image is imbued with dynamics: the path runs away into the distance, clouds rush across the sky, the figure moves towards us, the yellow leaves, just swept to the edges of the path, seem to rustle, and the disheveled tops of the pine trees sway in the sky.

Levitan's painting "Golden Autumn" is distinguished by brightness and increased decorativeness. The feeling of vitality, freshness of feelings on a sunny autumn day is created largely due to the “seething” of paint in the image of pure gold foliage and the bold, energetic writing of the blue sky, the dark blue of the river, against which reddened hawthorn leaves flare up. Sun rays brightly illuminate nature, eternally alive and eternally beautiful. Individual leaves are not visible: the artist applies paint in a generalized way, with free brush strokes. The two front aspen trees have almost completely shed their leaves, green pine branches are visible between the tops. Below the hillock, a meadow and the edge of a young, also turning yellow, birch forest are visible. It closes the background, merging with the blue of the sky. The sun is almost overhead: the shadows from the trees are short, dark brown. The meadow on the right bank of the river is also covered with yellowing grass. At the turn of the river, along the shore, willows and birches lined up in a horizontal line. A winter field with young greenery is visible on the hillock, bringing a new color to the predominant yellow tones of the picture. Forests stretch behind the peasant buildings, merging with the sky on the horizon. It is lighter with a slight haze. Pinkish light clouds float across the pale blue sky, enhancing the impression of the airiness of the landscape.

The picture is permeated with autumn invigorating air, extremely transparent. The outlines of the field, buildings, distant forest are very clear and clear. The artist makes it possible to visually feel the beauty of life, the charm of autumn in the golden glow of a quiet sunny day. Levitan's landscapes, imbued with love for the motherland, for its forests, fields and meadows, cannot but evoke a reciprocal love for what he depicts.

Autumn became associated with Levitan's paintings, thus the concept of "Levitan's autumn" was born.

Along the trees arabesque

Crystal threads snake;

Silver, transparent sheen

The air and the earth are shining ... (P.A. Vyazemsky)

Winter is most vividly represented in the paintings of Igor Emmanuilovich Grabar. In 1904 he painted the painting “White Winter. Rook's nests. The beauty of tall weeping birches, dotted with nest caps, is emphasized by the hut sunk in the snow.

The harmony of tonal relationships in the picture is generated by the light of a winter silvery, sunless day. "I wanted to convey the effect white snow on a white sky, with a white birch. This whiteness without whiteness seems to have succeeded, ”Grabar wrote.

The difficulty of the task and its successful resolution were appreciated by Valentin Serov, who noted that “winter is really white, but you don’t feel white”. In this, the way of mixing paints on the canvas, and not on the palette, worked.

The sunny days of February - "a holiday of the azure sky, pearl birches, coral branches and sapphire shadows on lilac snow" - gave an amazing pictorial material, embodied in the painting "February Blue" (1904). “I was standing near a marvelous specimen of a birch, rare in the rhythmic structure of the branches. Glancing at her, I dropped my stick and bent down to pick it up. When I looked at the top of the birch from below, from the surface of the snow, I was stunned by the spectacle of fantastic beauty that opened before me: some kind of chimes and echoes of all the colors of the rainbow, united by the blue enamel of the sky. It should be noted that Grabar possessed the most important quality of a true painter - he was able to truly see, that is, to perceive in the world around him much more than what is revealed to the ordinary eye. The work on this painting, which he later considered the most important in his work, proceeded in a very peculiar way: the sketch was painted from a trench that Grabar had dug in deep snow. In this trench, the artist placed himself with an easel and a large canvas in search of a stronger impression of a low horizon and a high sky (subsequently, such a "trench" method was used by him in other natural works).

From this point, the artist was able to reveal the whole variety of blue tones in gradation from light green to ultramarine. The vertical format of the picture, as in the White Winter, accentuates the plasticity of the birch, spreading its fan branches like wings, and emphasizes the infinity of the azure space. The sun shone daily, but the night frosts kept the snow from melting. More favorable weather could not have been, and Grabar worked almost without interruption for more than two weeks, until he completed the picture entirely on location. “I felt that I had managed to create the most significant work of all that I have written so far, the most of my own, not borrowed, new in concept and execution.” Grabar created not a sketch from nature, but a picture born from a synthesis of impressions from nature and therefore possessing true completeness and integrity. This was one of the highest points in the creative life of Grabar the artist, which determined his further path.

Another of the paintings of this magnificent period - "Snowdrifts" - was also written in one session. A spectacle of snowdrifts on the high bank of the Pakhra, illuminated by the last slanting rays of the sun, a line of old low huts in the village of Komkino, emphasizing the height of the horizon. Complex plasticity of the bank, melted snow on the river. The artist, risking his life, drove onto the spring ice in a sleigh to catch the gamut of the finest nuances - blue shadows, emerald polynyas, blinding rays of the sun at sunset. The artist tries to take the snow and the sky as a wide plane in order to develop the pictorial effects, the impasto texture, to the fullest extent possible. As Grabar believed, the degree of color “decomposition” increased from picture to picture, and in “Snowdrifts” divisionism had the most distinct effect. Very indicative for Grabar's work, the speed of creating sketches and paintings was due to the speed of changes occurring in nature on the border of winter and early spring. Capturing a moment of sunlight in the environment, in a mass of snow that takes on all the light and color changes, it caused the strongest artistic excitement in Grabar, forced to “throw” paints onto the canvas in a fascination with the beauty of the motif. Impressionism in the interpretation of Grabar captivated many Moscow artists. By his bright, spectacular, life-affirming paintings, one could judge the possibilities of this still little-explored artistic path.

A completely different state of nature in winter was conveyed in Vasiliev's painting "The Thaw" (1871). The mood of anxiety and hopelessness is felt in the picture. A romantic in his attitude, the artist, striving to express strong feelings, captured unusual states of nature, like this - a thaw in the middle of winter. Built on complex tonal relationships, the picture delights with an exquisite monochrome color scheme, so beloved by Vasiliev, golden brown with olive. The horizontal composition conveys a sense of the homelessness of the flat landscape, its silence, in the dull expanses of which two travelers are lost. And only a timid ray of the sun, penetrating through a dense veil of clouds, graciously shines on them in this world.

In the paintings of Konstantin Fedorovich Yuon, winter appears before us in a slightly different guise. The utmost clarity, sincerity, poetry, simplicity of the depicted motif of his paintings captivate the viewer. In Yuon's paintings, be it a landscape, a genre, a group portrait, life is everywhere, filled with light and joy.

“The highest happiness of a painter is to sing with colors,” said Yuon. Picturesqueness for the sake of picturesqueness was alien to him. Color, like other elements of form, he subordinated to the creation of an artistic image.

“The deepest emotional side of art lies in conveying to the viewer not so much what the artist sees and what he knows, but what he feels,” said Yuon.

In Russian nature, Yuon was especially attracted by winter, to which he dedicated most of his canvases. Here he was interested in the so-called "transitional period", when the days became longer, the sun shone and nature was transformed under its rays. The artist believed that at this time the snow most sensitively receives color reflections, making winter pictures exceptionally picturesque. His subtle observations, impressions received in nature, Yuon summarized and revealed in landscape canvases.

An unpretentious, but infinitely close to everyone since childhood motif was depicted by the artist in the painting “The End of Winter. Noon". The excited poetic structure of the landscape is close to the song and lyrical verses.

fine art lesson watercolor

Chapter II. WORK ON THE PRACTICAL PART OF THE DIPLOMA

.1 Features of work in the open air

Any picture begins with an idea, with a plan. The artist observes different states of nature, makes sketches and sketches in the open air. The importance of working in the open air cannot be overestimated. Etudes and drawings from life were an obligatory part of the training of artists of past centuries. E.I. Repin and F.A. Vasiliev saw in the work in the open air a necessary condition for creative growth and improvement of skills. Repin, recalling how Vasiliev worked during a joint trip along the Volga, wrote: “He amazed us at every more or less interesting stop. For ten minutes, if the ship was stationary, his finely pointed pencil, with the speed of a machine sewing needle, scribbled on a small sheet of his pocket album and depicted correctly and impressively the whole picture of a steep bank with houses, fences, stunted trees and pointed bell towers in the distance.

There are two important components of the plein air. The first is a live communication with nature, only with such communication “inspiration can arise, an idea can mature landscape compositions". Nature inspires a person, there is a sensual, visual knowledge of objects and the environment. And the second is directly the sketches, sketches, sketches themselves, which are the most valuable material for future compositions and, in the course of work on which, the artist studies nature, analyzes the results of sensory knowledge, perception, sensations.

“In work from nature, obviously, there will be more direct study of nature in the process of its perception and image. Here the artist has the opportunity to study more deeply the properties and essence of the observed phenomena and objects. When working from nature, knowledge begins with "living contemplation", i.e. visual sensation, perception. It necessarily implies a sensual, emotional relationship of the artist to the contemplated, observed and, subsequently, depicted. Emotional experiences play a big role in the artist's work. For artists, aesthetic feelings are the main ones, because. through art, he shows his aesthetic attitude to reality.

When working with paints in the open air, you need to feel nature in the air of the open air and learn how to convey color as a combination, a mosaic of reflections, since they are more pronounced in nature than in the studio. You need to learn to see reflexes from the sky, grass, earth and other environmental objects.

In the open air, the complexity of the work lies in the fact that, in the words of Delacroix, "in essence, there are no shadows at all, there are only reflexes." If you get carried away with some reflexes in the open air, then you can lose the shape of the object, its local color. Only color relationships provide the perception of the form of an object with the perception of its integral color. The law of relations underlies the painting of Russian plein air artists. Starting to work in the open air, the first days it is necessary to make several short studies in one session. Try to work quickly and energetically in order to feel the new environment and “refresh the palette”, work with brighter colors, feel the sunlight and air environment, as the artists say, “sign”.

2.2 Materials and equipment for watercolor work

Watercolor is an excellent medium for plein air work. It makes it possible to quickly and accurately convey the state of nature. Etudes are painted in watercolor using the “a la prima” or “raw” technique. The basis for watercolor is paper, which is often pre-moistened with water to achieve a special blurred brushstroke shape. For this, special frames (stirrators) are used, on which the sheet is stretched. Thus, during writing, the paper can be wetted from below, or the paper is placed on a wet flannel. A simpler method is also possible: a pre-moistened sheet of watercolor paper that absorbs moisture quite well is placed on glass, while, depending on how long a particular section of the drawing is worked out, the angle of inclination of the glass is chosen, but most often the glass lies horizontally.

The choice of paper plays a huge role in watercolor painting. When wet, it should not deform, get wet through, withstand several washes in case the artist wants to correct something in his work. This quality is achieved in several ways. First, high-quality, professional-grade watercolor paper contains cotton; its addition gives the paper the properties of a fabric: it absorbs water well, but also dries well, does not warp, and leaves colorful particles on itself. Determining whether the paper contains cotton is quite simple - you need to take the sheet by the edges and pull it slightly. If cotton is present, then the paper, like a rag, stretches a little and springs. Another way to protect paper from water damage is by sizing. Several layers of paper are impregnated (glued) with a special composition that does not allow moisture to penetrate through, but retains it in the upper layers. The downside here is that if the manufacturer overdoes it with sizing, then the water along with the paint will simply roll off the sheet without stopping. Such paper, as a rule, is intended for student work or sketches.

Watercolor paper should be thick (from 170 to 850 gr.) - to improve absorbency. The surface of watercolor paper is almost always rough, with varying textures. This quality allows the paint to "cling" to the surface and lie down better. In addition, an uneven, bumpy surface creates a certain optical effect, because watercolor is a technique that gives transparent, airy images. And textured paper gives them an additional effect of volume.

french artist E. Delacroix wrote: “What gives the subtlety and brilliance of painting on white paper, without a doubt, is the transparency that lies in the essence of white paper. The light penetrating the paint applied to the white surface - even in the thickest shadows - creates the brilliance and special luminosity of the watercolor. The beauty of this painting is also in the softness, naturalness of the transitions of one color to another, the limitless variety of the finest shades.

Now, both in Russia and abroad, there are many companies producing watercolors. There are solid watercolors in tiles, semi-solid watercolors in cuvettes and tubes, and liquid watercolors. Each species has a specific type of use. So, in the old days, only solid tile paints were made. Currently, they are used to perform drawing work, posters, projects. Although the highest grades of these paints are suitable for painting. Cheaper ones are for children and schools. The binder in such solid watercolors is: animal glue, potato molasses, gum arabic, honey, and tragacanth are also used. Paints in cuvettes are usually used for small work, for example, in the open air when making sketches. Since it happens, and quite often, that the mixing takes more time than the letter itself, and it is not very convenient to wash out the paint from the cuvettes for large formats. Semi-solid watercolors in cuvettes should contain a sufficient amount of glycerin, honey, sugar or molasses, but not too much, otherwise the paints do not adhere well and unevenly to the paper. Paints in tubes are great for creating large-format paintings, they practically do not get dirty against each other, as they are squeezed onto the palette as needed. However, it should be borne in mind that since watercolor in tubes is soft and squeezed onto the palette, with saturated painting, the pigment is not always evenly picked up on the brush and also unevenly falls on the surface of the paper. During glazing, when paints are repeatedly applied to the previous dried layers, these shortcomings are not very noticeable, but when working on a damp paper surface using the “a la prima” technique, this greatly interferes, since uneven clots of the paint layer are formed, which, when dried, destroys the integrity of the laid smear. Soft watercolor is more suitable for classical painting, although with some experience with these paints and in the technique in a raw way, the watercolor artist can create magnificent examples. Liquid watercolors are ideal for airbrushing.

Brushes of various sizes and shapes, preferably squirrel hair. The advantages of brushes are their softness, plasticity, good set shape, thanks to which the brush is able to carry a lot of water and which makes a brush, even a large one, suitable for working with fine elements of the image. It is not necessary to have many brushes of different sizes. It is enough to limit yourself to 3-4 brushes (2, 4, 6, 8 sizes)

Palette. It is best to purchase a palette of white plastic, after treating the surface with a weak abrasive, the water on its surface does not roll into drops, and the dried paints on the palette are easily diluted with water and continue to be suitable for work. It is not recommended to use paper palettes, as paper absorbs water, dried paints become unsuitable for work, brushes experience additional stress, rub against the surface and wear out faster, besides, glue is washed out of low-quality paper and gets into the painting.

.3 Watercolor painting techniques

“The power of painting, like any other art, is in the depth of content and the perfection of form. Only the combination of a significant, cutting-edge idea and polished professional craftsmanship produces a true work of art. If the creative thinking of the artist is his spiritual strength, then the technique of painting serves him as the necessary technical equipment and constitutes the real basis of his pictorial achievements. Technique for the artist is that set of expedient techniques and methods for the implementation of a full-fledged picturesque image, without which it is practically impossible. Without technique, the artist is shackled; with technique, he is elated.”

There are several techniques and techniques for painting with watercolor.

The wet watercolor technique is enough complex technique, but always filled with indescribable delight, because it is never possible to predict how watercolors will behave on wet paper. Draw in this technique should be on a horizontal surface, otherwise the paint will flow down. You will also need a lot of water. An important step is to properly prepare watercolor paper for writing "raw". The sheet moistened with water must be smoothed out so that no air bubbles and irregularities remain under it. Excess water can be removed using cotton wool. Paints are applied with a single touch, from repeated application of layers, watercolor becomes dirty, transparency is lost. It is very important when working with watercolors in the “wet” technique to choose the right tone. This technique does not tolerate corrections, so often the sketch does not work the first time. You need to work very quickly while the paper is still wet. With experience comes the ability to "manage" equipment "in a raw way", but the element of surprise will always remain. You can refine the foreground elements after the canvas has dried, if necessary.

Technique "a la prima" - painting on a wet or dry sheet of paper, written in one session. This technique means to write immediately, without subsequent major changes. According to this method, each detail begins and ends in one step, then the artist, having in mind the general, moves on to the next detail, and so on. All colors are taken immediately in the right strength. This method is especially appropriate when performing landscape studies, when changing weather conditions oblige fast technology execution. This, perhaps, should explain the flourishing of the “a la prima” technique in the practice of artists of the late 19th and 20th centuries, when the tasks of the plein air were set. The "a la prima" method, since it does not involve multiple registrations, allows you to save, with experience, the maximum freshness and richness of colorful sounds, greater immediacy and sharpness of expression. In a quick sketch from nature, in sketches, this method is indispensable.

The glazing method is based on the use of paint transparency, its properties to change color when applying one transparent layer of paint to another transparent layer. To prevent the bottom layer from eroding, it is allowed to dry well before subsequent overlapping. Color changes can consist in the development of one color tone - from weakly saturated to more saturated, as well as in the formation of complex composite tones; for example, overlapping yellow with transparent blue, we get a color with a green tint, red with yellow with an orange tint, etc. Unlike mechanical mixing, color change by superimposing one transparent layer on another is based on the law of optical color addition. So, with the glazing method, the depth and saturation of the color tone, its overall strength are achieved by successively overlapping the dried transparent layer each time with a transparent layer of paint. At the initial stage, light tones are applied, over them, again with a transparent layer of paint, following in strength, and so on until completion. The paint layer, for all its layering, must remain thin and transparent enough to allow reflected light to pass through.

The glazing technique is more suitable for long-term work: from a stationary nature, for example, in a still life, as well as in performance work, when creating finished compositions, book illustrations, and is also appropriate in applied graphics.

Chapter III. QUESTIONS OF THE METHODOLOGY OF TEACHING LANDSCAPE IN SCHOOL

.1 Painting tasks when working with watercolors in the fine arts lesson

Of great importance when working with paints is a developed sense of color, the ability to see not only tonal, but also color relationships.

In painting, all color differences are transmitted, taking into account the difference in lightness of colors. Transitions from saturated color to white have many intermediate shades. So, red color has a large number of dark pink, pink and light pink shades when lightened.

The color of an object can be perceived differently depending on its proximity to others. Red, blue and yellow are the main colors. By mixing them you can get other colors. Spectral color circle, along which, starting from red, orange, yellow, green, blue, indigo and violet colors are placed, closing the circle with a transition to red, it is customary to divide into warm and cold colors. Within the same color, for example, green, there can be warmer and colder shades.

Opposite colors on the spectrum are called complementary colors. Green is complementary to red, and orange to blue. It is very important that the spectral circle be hung as a visual aid in the classroom. This will be a kind of constant prompt for young artists.

It has been noticed that by placing surfaces painted in complementary colors next to each other, we visually make them brighter. The same red color appears bright against a green background and dimmer when placed with another red, but more intense in color.

In painting, they take into account the change in the perception of colors depending on their color environment, which obliges them to be depicted in “relationships”, that is, comparing one color with another.

In painting, light reflections are also taken into account. Reflections change the local color of an object depending on the color of the illuminated surfaces from which the reflected light falls. The meaning of color reflections is easy to understand if pieces of fabric or paper of different colors are brought to a white porcelain cup or to a plaster model from the shadow side. The reflex will be more noticeable, the larger, brighter in color and more illuminated reflective surface. Reflections are more visible on smooth glossy surfaces, but less noticeable on rough ones. This is explained by the fact that the angle of reflection of light rays is equal to the angle of their incidence, and the rays are reflected from an uneven surface in different directions. All illuminated objects cast reflections, and thanks to them, relief is distinguished in the shadows, and the shadows themselves are seen not as black, but as “transparent”.

When working with watercolors, one must take into account that the rays of light themselves have a color characteristic that adds its coloration to the local color of the subject. So, everyone knows that at sunset a white dress or a lime-covered wall takes Orange color, and in the light of a fire, they appear red. In the moonlight, objects appear cold; in sunrise, they appear pinkish.

On bright sunny days, the color of the illuminated surfaces is highlighted. The shadows are full of reflexes. With less bright direct and diffused light, the ratios of light and shadow are close; mold sculpting is softer and more color saturated on illuminated surfaces. Reflections in the shadow are more noticeable and closer to the edge of the subject. In painting, it is required that color nuances in their totality convey the main color of objects. So, for example, in the picture of V.I. Surikov "Boyarynya Morozova" the snow is painted with paints enriched with many different shades, but together they convey it White color.

Extensive experience in working with paints from nature makes it possible to find the slightest shades that change the local coloring of objects, to take into account the mutual color effect of surfaces. This creates difficulty in solving pictorial problems, when the features of the perception of color relations must be determined, observing the requirements of the drawing. If, when looking for color nuances, you forget about the requirement of a drawing, then this will lead to formalism. On the other hand, if we do not take into account the color reflexes that enrich the color solution, as well as the unifying effect of colored rays of light, then we get a "depleted image, conditional coloring of objects."

Color is called general characteristics the entire color system of a painting, the interconnection of all elements of a colorful solution. Color is one of the main means of realistic transmission of nature, and it cannot be separated from other means of conveying reality.

In order to maintain the intended color scheme of the sketch, the colors must not be taken separately, but in relationships. Color relationships are understood as such an interrelation of colors, where the color is true and corresponds to nature not in itself, but taken in comparison with another.

Of course, it is impossible to set all tasks for students at once. Perhaps it is worth presenting simpler requirements and achieving their correct solution. Only under this condition will the systematic development of fine literacy and the development of artistic taste, the ability to apply the acquired knowledge and skills in independent creative work be achieved.

3.2 Theoretical foundations for teaching landscape painting in watercolor

To teach watercolor landscape painting in art classes, you must first introduce students to various types of landscapes, paintings by artists and various watercolor techniques. It is necessary to start with simple exercises, small sketches of the landscape, as well as a detailed sketch of plants, flowers, trees, as well as simple buildings or their parts - a well, a porch, a shed, a window. Complex etudes at the initial stage of training do not lead to good results.

When working on landscape sketches, a number of compositional and coloristic difficulties arise: the transfer of large spaces, the identification of different lighting at different times of the year, the characterization of the state of nature, and so on.

Usually they start with small studies, when all attention is directed to the subtlety of the transfer of the main tonal and color relationships and there is no detail. In landscape sketches, it is necessary to achieve a common color scheme, which should not be repeated in different studies. It is very bad if students begin to repeat the “memorized” colors with which they once achieved a successful solution. It must be remembered that the same buildings and trees at different times of the day and in different weather must be painted in different colors, trying to notice subtle nuances, achieving the accuracy of relationships and avoiding approximation.

After the students have written a series of short-term sketches and exercises, they can begin long-term work, in which it is necessary to achieve ultimate completeness, understanding by it not an enumeration the smallest details, but the completed solution of the tasks.

The correctness of the figurative solution of the landscape depends on the composition. Black and white contrasts, sharp in the foreground, soften as they move away and merge into one tone at a great distance. The more contrast the chiaroscuro ratio, the closer the object appears, the softer, the more distant it looks. As we move away from us, objects visually lose volume, relief, acquire a silhouette, more generalized character. Colors at a distance fade, take on a bluish tint, color differences soften.

It is best to start painting a landscape from the sky and the background, in order to immediately determine their relationship, to convey depth. It is necessary to determine the relation of the earth to the sky and to prescribe a generalized first plan.

After the general color laying of large areas, nature still remains generalized, without many details. Turning to the concretization of the form, one should not immediately linger on the detailing of any one object (for example, a tree trunk). Starting with the largest and most characteristic element of the landscape and, as if relying on it, work simultaneously on the entire study, without dwelling on individual details for a long time, moving from one subject to another, clarifying the relationship of cold and warm tones.

If, in the process of refining the form, the landscape study loses unity and harmony, excessive variegation and inconsistency of plans appear in it, then one should try to see the landscape as a whole and prescribe places that require generalization or amplification.

When conveying the signs of the season, one should not simply resort to coloring the vegetation in yellow or green, given that the color of nature largely depends on the nature of the lighting, time of day and atmospheric conditions.

The initial works of students often suffer from monotony of composition. You should not always take the same paper format, the same ratio on the sheet of the area of ​​the sky and the earth, or the same masses of the elements of the foreground. Before painting in watercolor, it is useful to make preliminary sketches in pencil, where the image will be arranged in various formats. It is very important to determine in advance the color structure of the study. The states of nature are varied in color, and therefore the study can be solved in golden or grayish, cold colors. The color scheme should not be deliberate, far-fetched. It is necessary that it correspond to the state of nature and figuratively convey it. So, when transmitting a foggy morning, it is appropriate to solve the sketch in a grayish or bluish range, the sunset is characterized by the predominance of orange tones. If you write objects separately, without determining their color relationship, the image will never turn out to be harmonious. It is necessary to determine the meaning of each color spot in the overall color scheme.

When teaching landscape painting, certain tasks must be set - the study of the nature of the form of the objects depicted, the transmission of perspective, lighting and color.

When working on a landscape, the variety of techniques and ways of pictorial solution of nature in watercolor can be inexhaustible. This or that technique in watercolor should organically depend on the specific task. So in a small watercolor sketch by I.I. Levitan's "Winter" it is clearly seen how a large snowy expanse with flat vegetation defined by silhouette and the absence of small forms prompted a free, generalized solution, made in watercolor in one or two coats.

A feature of the landscape composition is that, unlike a portrait or a figure, distances can occupy a central place in it. The transfer of spatial depth is one of the tasks of the landscape. Large trees or buildings in the foreground are often placed in fragments, when only parts of them are visible. Sometimes they resort to a "stage" image, placing parts of trees or buildings at the edges of a sheet of paper on the right and left sides. It’s bad if there are a lot of straight lines in the composition of the landscape, parallel to the horizon. It is better to choose such a point of view, when the horizontal boundaries of the forms of objects are directed into the depth of the picture. This helps the spatial resolution of the landscape. To do this, you need to study in detail the laws of linear perspective. A significant role is played by the tonal solution of the composition, that is, the distribution of large spots of dark and light tones. Of decisive importance in establishing tonal relationships in a landscape is the nature of the lighting. Sunlight can illuminate the landscape from the side, front, or back. If the sun is to the right or left of the viewer, then the luminary itself is not visible. Drop shadows have a horizontal direction parallel to the bottom edge of the painting.

If the sun is in front of the viewer, then it can be either depicted in the picture, or located above the upper edge of the frame. Most often, artists avoid the image of the sun, only a less bright sun, at the hour of sunrise or sunset, is sometimes depicted in paintings. Falling shadows under such lighting are directed towards the viewer, and objects are seen in silhouette. When composing a landscape, the difference in illumination of the foreground and distance is often used, for example, the foreground is taken in deep shadow, and the background is brightly illuminated. Objects in the foreground are depicted clearly, with sharp contrasts of chiaroscuro.

In the background, objects merge into a foggy haze, since the air is not completely transparent, moreover, the degree of this opacity is different in different weather. Light tones at a great distance become somewhat darker, and shadows lighter, so that their tonality approaches.

The distribution of the main color relationships is also inextricably linked with these phenomena of aerial perspective. White objects in bright sunlight, changing color at a distance, turn somewhat yellow, then turn pink, and the shadows turn blue. Warm tones are associated with the foreground, cold tones are associated with a more distant one.

3.3 Landscape imaging technology depending on the time of year

Each season has its own play of colors in nature. Take, for example, the blue of the sky. In the spring it seems clear and cool, on hot summer days it is covered with a light haze, and clear autumn days shines with an almost warm blue. The spring foliage of the trees is characterized by a fresh, radiant green, the summer cereal fields are immersed in warm yellows, and the fall sparkles with radiant reds, red-browns and yellows.

These and other colors should be used and applied with great care.

Spring. A pencil sketch drawn from nature gives an idea of ​​the nature of the landscape, the trees on the opposite shore of the lake, and the slightly structured foreground. The sketch is an important aid and canvas for breaking the picture into parts. It serves as a project while working. If you paint in watercolor using the “wet” technique, then you need to abandon the exact designation of the forms in the picture, since you can never accurately predict how the colors will blur, and too much density of the forms on the sketch can only interfere. The picture will show early spring.

.Cover the entire leaf with water and let it soak a little with it.

.Let's start writing work from the sky. The sky in the picture is evening, so we write it through colors such as ultramarine, purple, brown. Closer to the horizon, the sky brightens, so let's add ocher.

.Let's write the trees in the background. In early spring, the trees are not yet covered with foliage, so it is quite difficult to match the color. Let's mix purple paint with brown and paint a group of trees with strokes, add ultramarine there. Since our paper is damp, the colors will mix right on the sheet. Where there should be white birch trunks in the background, just leave white stripes. For a change, let's draw a few fir trees. The birch branches in the foreground also need to be drawn immediately so that they gently blur against the sky.

.Next, we will write a long-range plan. According to the laws of aerial perspective, it is colder than the front one. Then we will write the river. The water is dark in spring, mix ultramarine with brown and black, the water should be darker than the sky.

.In the foreground we will write dry grass using yellow ocher, golden ocher, mars brown and red ocher.

.Let's look at the picture from a certain distance and, if necessary, emphasize the nuances. In principle, when using the technique of painting on wet ground, you need to abandon the detailed finishing of the picture so that the beauty of this technique can fully manifest itself.

.Finally, with a thin brush, the details are finished, which, when using the technique of painting on wet ground, should not be too detailed.

Summer arable land.

.Draw a low horizon line with a pencil, draw 2 houses and a line of trees on the horizon.

.Let's start painting with the sky. For the sky we use sky blue and ultramarine blue. Thoroughly moisten the paper with clean water to the horizon line using a flat brush. With a round brush No. 7 or No. 9, we will write the sky with strokes, where there will be clouds, we will leave just white spots for now. The sky takes on an ocher hue towards the horizon. Until the sheet of paper dries up, we will write shadows on the clouds, using a burning bone and ultramarine strongly diluted with water.

.Without waiting for the sky to dry, let's paint the trees in the background. It is best not to take the green color from the cuvette, but mix it on the palette, so you can find many shades of green.

.Next, write the field. Closer to the horizon, it will be lighter and colder, and in the foreground, the colors should become warmer and brighter. The grass on the front can also be painted with strokes, this will create the effect of a light breeze.

.Then we will write houses in the background.

.When the sheet dries, we will place accents in the foreground. We will draw blades of grass and flowers with darker paint.

.Let's outline the shore of the lake, the trees in the background and the reflection.

2.The sky is deep blue in autumn. Let's mix Prussian blue with ultramarine and write the sky "raw". The sky becomes lighter towards the horizon, add ocher and speckled.

.Autumn trees amaze us with a richness of colors, so you can use pure colors such as lemon yellow, cadmium yellow, orange, Indian red, purple can be used in the shadows.

.Then we write the reflection. Reflection is best written on damp paper with vertical strokes. It is always darker and colder than the real object.

.At the last stage, we will draw the details - trunks and branches of trees, glare on the water.

Winter day.

1.Draw a horizon line with a pencil. A little to the right of the center, draw a village house.

.In color, we start work from the sky. In winter, most often cloudy weather, so the sky will be gray with ocher. The sky will brighten towards the horizon.

.Just above the horizon line, we will write a forest over the damp sky using sepia, purple, ultramarine and ocher. Trees spread across the sky and the illusion of a bare forest is created.

.Next, we will write the house using the streak technique. We use the following colors: burnt sienna, sepia, red ocher, light ocher. On the roof and on the pipe we will leave unpainted white stripes of snow, when the house dries up, you can draw logs, windows and other decorations.

.While the house is drying, paint the snow in the foreground. The snow is much lighter in tone than the sky, so some places will be left unpainted. With light movements of the brush, draw stripes in those places where there will be a shadow on the snow, use sepia and ultramarine heavily diluted with water.

.When all the work is dry, we will draw the trees. In the foreground, the trees will be darker and more contrast than in the far. For writing trees we use black, sepia, ultramarine. We will leave white places at the roots of the trees, as if the trees were covered with snow. Next, draw thinly trunks of trees in the background, use a brush with long hair. Let's draw branches.

3.4 Psychological characteristics of the age characteristics of students in grade 7

Students in grade 7 can be attributed to adolescence. "This age is usually characterized as a turning point, transitional, critical, but more often as the age of puberty." L.S. Vygotsky distinguished three points of maturation: organic, sexual, and social. In a person in the history of the development of society, the points of sexual and social maturation coincided (the rite of initiation), while organic maturation occurred after a few years. At modern child lines of development diverged: first comes puberty, then organic, and then social. This discrepancy led to the emergence of adolescence.

L.S. Vygotsky came to the conclusion that adolescence the structure of age needs and interests is determined mainly by the social class belonging of the adolescent. The influence of the environment on the development of thinking never acquires such great significance as precisely in the transitional age. Numerous studies confirm the historical and social conditioning of personality development and the absence of stable boundaries of adolescence. So, E. Erickson, who considered adolescence the most important and most difficult period of human life, emphasized that the psychological tension that accompanies the formation of the integrity of the individual depends not only on physiological maturation, personal biography, but also on the spiritual atmosphere of the society in which he lives man, from the internal inconsistency of social ideology.

Vygotsky considered the problem of interests in adolescence in detail, calling it "the key to the whole problem of the psychological development of the adolescent." He wrote that all the psychological functions of a person at each stage of development do not operate haphazardly, not automatically and not randomly, but in a certain system, guided by specific aspirations, interests and inclinations deposited in the personality. In adolescence, there is a period of destruction and withering away of old interests, and a period of maturation of a new biological basis, on which new interests subsequently develop. The researcher notes that if at the beginning the phase of development of interests is marked by romantic aspirations, then the end of the phase is marked by a realistic and practical choice of one of the most stable interests, for the most part directly related to the main life line chosen by the teenager.

In the concept of D.B. Elkonin, adolescence, like any new period, is associated with neoplasms that arise from the leading activity of the previous period. Educational activity makes a turn from focusing on the world to focusing on oneself. By the end of primary school age, the child has new opportunities, but he does not yet know what he is.

The central neoplasm of age is the emergence of ideas about oneself as “not a child”, when a teenager begins to feel like an adult, to strive to be one.

Educational activity for a teenager recedes into the background. The center of life is transferred from educational activity, although it remains predominant, to the activity of communication. In communication, the attitude towards a person is carried out precisely as a person. It is here that the assimilation of moral norms takes place, the system of moral values ​​is mastered.

Thus, in adolescence, interest in visual activity fades.

3.5 Experimental and practical work with children

Fine art lessons are special lessons and the requirements for them are special. They must be built according to the laws of art. Introducing students to art in a school lesson in a meaningful way creative activity- these are the first steps in the "Temple of Art". A school teacher should subtly feel his students, carefully support them. Creativity is a secret process during which a person exposes his soul. Therefore, the main task of the teacher is the development of the child's creative abilities, the formation of artistic taste and aesthetic education.

Pedagogical practice took place on the basis of the State Educational Institution Secondary School No. 80. During the practice, a block of lessons for 7 classes dedicated to painting landscapes in watercolor was developed and implemented. Based on the main goals of teaching fine arts at school, the following tasks were identified for the lessons: mastering the knowledge of the basics of realistic landscape drawing by students, familiarizing them with different techniques of watercolor painting; develop creative imagination, knowledge, skills when working on a composition; development of spatial representations, aesthetic feelings; education of interest and love for art, fine arts and love for nature.

There were 5 lessons in total. The first lesson - exercises on watercolor techniques, aimed at getting to know and mastering various techniques watercolor painting. The second and third lessons are drawing a winter landscape with staffing. The objectives of this lesson: to acquaint students with the concept of staffing, to remember the laws of aerial and linear perspective, to cultivate a love for nature. The fourth and fifth lessons - “Landscape-mood. Nature and the artist. In this lesson, students got acquainted with the works of famous landscape painters, got acquainted with the variety of shapes and colors of the world around them, the variability of the state of nature depending on the lighting, learned to find the beauty of nature in its different states: in the morning, afternoon, evening, on a sunny or rainy day.

Based on the results of pedagogical practice, a comparative experiment was conducted. Students' works were evaluated according to the following criteria: solving compositional problems (highlighting the main tone, color, size, location), transferring perspective (aerial, linear), transferring the state of nature (lighting, coloring), performance technique, originality. The analysis of the work was carried out at the beginning, in the middle and at the end of the practice.

At the beginning of the practice, there were great difficulties with discipline, it was very difficult to attract the attention of students. Due to age characteristics, students were not very interested in watercolor painting, especially the exercises. But having tried to paint in watercolor in a raw way, many were interested in it, in the end they turned out enough good work. The purpose of this lesson was to master various watercolor techniques. Almost all students coped with the "raw" technique (90%), working with watercolors in the "raw" technique, there is always an effect of surprise, so the work turns out to be bright and interesting. With the “a la prima” technique, only 40%, since working with fills requires skill.

In the middle of the practice, the students were given the task to draw a landscape-mood. 90% of the students approached this task in a rather original way, many of them coped well with the composition (79%). But there were difficulties with the transfer of the aerial perspective, only 40% were able to transfer the space, perhaps it was necessary to have a conversation with the students on this topic. 77% coped with the transfer of linear perspective. Each student tried to convey the mood and state of nature in his own way. Some connected their works with their personal experiences; in general, this topic turned out to be close to seventh graders.

By the end of the practice, the knowledge, skills and abilities of students improved by only 3%. Of course, the tasks assigned to the students are quite complex, they require a longer and more consistent solution and study.

As practice has shown, for the successful development of knowledge, skills and abilities, students must be interested. To show interest in creativity in the classroom, the following principles were used:

· The child should have maximum freedom for the manifestation of creative initiative, creative activity. It is very important that in the lessons of fine arts, not cold, soulless, although correct answers of students sound, but answers containing their own experiences and impressions, colored by children's emotion, completely sincere outbursts of the soul and mind.

It was then that the process of perceiving art, in general, and creative task in particular, it takes on the desired form and helps the student to reveal himself.

· The explanation of new material should not be dry, you need to create images, apply visibility.

· To acquaint students with the work of artists.

· The plot of children's work should never be criticized, but on the contrary, inspire the child to continue creating. If it is difficult to create, you need to suggest ways to overcome difficulties.

· Encourage children to encourage the child to be creative in drawing.

· The presentation of the material should be accessible, consistent.

· To develop interest in drawing with watercolors, students should be given exercises on watercolor techniques, to acquaint them in advance with the properties and features of watercolor painting.

CONCLUSION

In the modern world and art, the genre of landscape is very common. For many people, nature and its images can be a source of aesthetic feelings and emotions. From epoch to epoch, the attitude, tasks and meaning of the image of nature gradually changed. With the development of the landscape genre, the works of artists began to carry not only an informative function, but also act as a means of shaping the spiritual qualities of a person. In the meantime, it is important for the artist to see nature through the prism of the experience of art.

Work on finished watercolor sheets, sketches, which can be called easel, requires a lot of experience from the performer, the accumulation of auxiliary material. In order to master the art of landscape painting in watercolor, it is necessary to carefully study the works of artists, analyze compositional solutions, techniques and other artistic means, refer to cultural heritage, and read the memoirs of the artists themselves, who share their life experience and experience of creative activity.

But nature remains the main teacher, it is she who inspires the author. The creative approach to the depiction of the landscape is based on those visual images and impressions that you get when working from nature. Only as a result of communication with nature can inspiration arise, the concept of landscape compositions can mature.

It is very important to combine a thorough study of nature with the cultivation of an artistic and creative approach to it. This is the most important moment of the creative process - the translation of vital material into the language of fine art. When solving the composition of a landscape, one cannot snatch out separate pieces of nature, one must show the most characteristic, typical and express one's emotional attitude to what one sees. Expressive is the picture that conveys the feelings, thoughts and impressions of the artist. The artistic image is the ethical and emotional-aesthetic attitude of the artist to reality. In order to express the image, certain means are used: composition, drawing, format, technique.

Today, the artist can afford to choose from a variety of artistic materials and techniques those that best suit his design.

Bibliography

1."Fyodor Alexandrovich Vasiliev". Album. Moscow: Visual Arts, 1991. 147 p.

.Bairamova L., "Delacroix", M.: White City, 2007, 48s.

.Golovin A.Ya. "Memories"; Cit. by: “Meetings and impressions. Letters. Memories of Golovin”, L.-M. 1960 p.20

.Karasev Yu.V. "Peculiarities of painting in the open air" // Fundamental research. - 2005. - No. 1 - S. 92-93

.Kirtser Yu.M. "Drawing and Painting". Moscow: Higher School, 2001, 267p.

.Manin V.S. "Russian landscape". M.: White City, 2000. S. 631

.Maslov N.Ya. "Pleiner", M., 1984, p. 3

.Mokritsky A.N. "Memories of Bryullov"; Cit. Cited from: “Brullov in letters, documents and memoirs of contemporaries”, M. 1961. With. 148

.Obukhova L.F. "Children's Developmental Psychology", M. 1999

.Osmolovsky Yu.E. Konstantin Fedorovich Yuon. M.: Soviet artist, 1966. p. 56

.Ostrovsky G. "Stories about Russian painting." M.: Fine Arts, 1971. p.243-258

.Ostroumova-Lebedeva A.P., “autobiographical notes”, vols. I-III, M., 2003

.Paustovsky K., "Isaac Levitan". Story about an artist. 1937

.Plotnikova E.L. "Exhibition of Russian watercolors of the late 18th - early 20th centuries from the collection of the State Tretyakov Gallery", M. 1966, p. 20

.Podobedova O. I. "I. E. Grabar". M., 1964

.Program "Fine Arts" edited by Kuzin V.S.

.Revyakin P.P. "Technique of watercolor painting", M. 1959, p. 5

18.Rostovtsev N.N. - Methods of teaching fine arts at school (textbook). -M, 2000.

19.Semenova M.A. "Development of artistic and creative abilities of students of art faculties of pedagogical universities in the process of practicing watercolor painting in the open air" dis. Cand. ped. Nauk 13.00.02 Omsk 2006 233 p. RSL OD

.Smirnov G.B., Unkovsky A.A. "Watercolor", M., 1975

.Smirnov G.B., Unkovsky A.A. "Drawing and painting of a landscape", M., 1975

.Sokolnikova N.M. "Fundamentals of Painting", M., 1998

.Torstensen L.A. “Watercolor painting by V.A. Surikov”, M. 1998, p. 9

.Fedorov-Davydov A.A. “A.K. Savrasov 1830-1897". M.: Academy of Arts of the USSR, 1950. 78 p.

.Fedorov-Davydov A.A. "Russian landscape of the 18th - early 20th century". M .: Soviet artist, 1986. pp. 151-153.

."Fyodor Alexandrovich Vasiliev". Album. M.: Visual arts. 1991 p. 151-153

.Shorokhov E.V., "Composition", M., 1986

.Shumanova I. "Magic of watercolor". M. Journal "Tretyakov Gallery" 2003-2010. With. 113

.Efros A.M. “Drawings and watercolors by V.A. Surikov”, M. 1998, p. 9

.Yagodovskaya A. "About the landscape." M., 1963, p.22

Tags: The formation of students' aesthetic ideas, concepts and tastes by drawing landscapes in watercolor indicating the topic right now to find out about the possibility of obtaining a consultation.