Analysis of diagnostics on artistic and aesthetic development. Diagnostics of mastering fine arts by older preschoolers

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DIAGNOSTICS OF THE LEVEL OF DEVELOPMENT OF CREATIVITY IN VISUAL ACTIVITIES

Teacher of GBOU secondary school No. 951

Zabrodskaya Natalya

Komarova drawing paint creative

Introduction

4.3 Drawing classes using non-traditional techniques

Conclusion

Literature

Introduction

Every person has a need for creative activity and creativity. Unfortunately, they often remain unrealized. In childhood, a person looks for opportunities to realize his creative potential, but, as a rule, he encounters resistance from the environment and his immediate environment. If a child does not gain positive experience in creative activity, then in adulthood he may form the belief that this direction of development is inaccessible to him. But it is through creativity that a person can most fully reveal himself as a person.

Creativity gives a person the experience of his integrity. It reflects his inner world, his aspirations, desires, experiences. At the moment of creativity, a person most fully and deeply experiences himself as a person and realizes his individuality. “Creativity,” writes V.V. Davydov, is the lot of everyone... it is a normal and constant companion of child development.” The creative inclinations of different children are different. They depend on the properties nervous system, its “plasticity”, emotional sensitivity, temperament and are largely determined by heredity. In addition, the environment surrounding the child, especially the family, influences the development of creativity. The most affordable option creative activity is visual activity.

Children aged 3 to 7 years old draw with pencils, paints, sculpt from plasticine, and make crafts from various available materials. Such activity is a natural way for a child to master the world around him, understand his place in it, discover himself, a way to develop thinking, perception, motor skills, and develops the child emotionally and creatively. In terms of importance, this activity occupies second place in a child’s life after play; in its nature it is closest to play, being an accessible, free activity in which there is an opportunity to express one’s experiences indirectly through color, image, etc. At the same time, it is visual and productive activity, making it possible to evaluate the result. “Creativity and play appear here as interrelated concepts, since... a child has no other way of personal development other than creative, associated with the development of imagination.” (L.S. Vygotsky). B.M. Teplov writes that “... the task of depicting necessarily requires acute perception... Solving the task of depicting what he has seen, the child inevitably learns to see things in a new, much sharper and more accurate way.”

One type of integration activity is a child’s design activity. In design activities, a preschooler develops a sense of materials and decorativeness, spatial imagination, and lays the foundations for design and artistic thinking. By visiting museums, getting acquainted with the exhibits on display, observing the world around him, the child, discovering all its diversity, receives joy from this discovery and realizes his capabilities in realizing his vision. All this is of lasting importance: a person who sees and knows how to appreciate beauty will preserve and increase it; such people are not capable of immoral acts.

In addition, today, more than ever before, there is a need for the formation of a harmoniously developed personality. A person who will study, protect and develop the spiritual heritage of our people.

Design activity is a special type of artistic activity that combines various types of creativity: drawing, modeling, appliqué, design, artistic work. Integration allows teachers and educators to shape the interests of children, their needs, introduce them to the basics of culture, art, various types of artistic activities, and develop a creatively independent personality.

Visual arts mean a lot to a child. Therefore, it is very important for a teacher to analyze the level of development of a child’s visual activity as an indicator of his aesthetic and intellectual development, as well as the level of its mastery by the child in a particular age period.

In this regard, indicators and criteria for assessing the level of a child’s mastery of visual activities are important. They use the developed indicators and criteria according to the “Origins” program, I.A. Lykova, T.G. Kazakova, L.A. Paramonova, E.A. Flerina, A.E. Shibitskaya, T.S. Komarova, A.N. Malysheva. For a more in-depth and thorough analysis, my colleagues and I, at meetings of the city methodological association “Fine Arts in MDOU”, developed and repeatedly used when assessing the effectiveness of the lesson system we created, aimed at teaching children visual arts and developing their creativity.

We have compiled the full set of criteria and indicators that we have identified into a single table, which allows us to quickly analyze in more depth the characteristics of the level of children’s mastery of visual arts. To do this, we have selected a limited set of criteria and indicators, common to all types of visual activities.

Based on these indicators, a diagnostic survey of preschool children’s skills and abilities in design activities is carried out.

As a test task, we chose the task of completing circles. The choice of diagnostic task was dictated by the following considerations: it is part of a planned program aimed at developing children's visual creativity and, in connection with this, stimulates children's creative abilities and gives children the opportunity to explicate, modify and transform existing experience. The tasks should be a combination of depicted images that have a common basis (circle), reflecting the complexity of the creative process. On a landscape sheet of paper, 6 circles of the same size (diameter 4.5 cm) are drawn with a graphite pencil. Children are asked to think about what each circle could be and complete the drawing.

The results of children completing the task are assessed using a 3-point system.

A rating of 3 (high level) is given to those children who are given original figurative content mainly without repeating one or a similar sample.

Score 2 (average level) is given to those children who endow all or almost all circles with figurative content, but allow almost literal repetition (for example, a flower or a muzzle) or decorate the circles with very simple objects that are often found in life (a ball, a ball, a sun and etc.).

Score 1 (low level) is given to those who were unable to provide all circles with an imaginative solution; the task is not completed completely and carelessly.

I. Diagnostics developed by T.S. Komarova

To determine the levels of development of children’s visual skills and their creative manifestations, they are guided by the criteria developed by T.S. Komarova.

1. criterion: the content of the completed image, its components, their diversity;

2. criterion: transmission of form (form simple or complex, conveyed accurately or distorted);

3. criterion: structure of the object (parts are located correctly or not);

4.criterion: color (colors are bright or pale, warm or cold);

5.criterion: the nature of the lines (pressure strong or weak, coloring with small or large strokes).

To check to what extent a child has mastered a particular skill, I conduct a control examination 2 times a year. This allows you to assess the dynamics of the child’s development and plan further work, taking into account additional classes to develop the necessary skills.

Tables for assessing skills and abilities developed by A.N. I use Malysheva to examine the skills and abilities of working with scissors, fabric, and scissors among children in the senior group and the preparatory group.

Examination of skills and abilities to work with scissors (senior group)

Examination of skills and abilities in working with fabric (senior group)

Examination of skills and abilities in working with thread (senior group)

Examination of skills and abilities to work with fabric (preparatory group)

Examination of skills and abilities to work with thread (preparatory group)

Table 1 - Parameters of development of older children up to school age in artistic and creative activities

Development parameters	Types of creative development	High level of development	Average level of development	Low level of development
Mastering technical skills and abilities.	Painting Architecture Sculpture Arts and crafts Unconventional techniques	Fully proficient in technical skills and abilities.	Has difficulty applying technical skills and abilities.	Uses the help of a teacher.
Development of color perception.		Uses the entire color gamut. Works independently with shades.	Uses the entire color gamut.	Uses no more than 2-3 colors.
Development of compositional skills		Independently draws up and implements a compositional plan.	Experiences difficulties in compositional solutions.	Depicts objects without uniting them with a single content.
Development of emotional - artistic perception, creative imagination.		Sees the beauty of the surrounding world, works of art, folk arts and crafts, reflects his emotional state in his work. He is passionate about doing the work, creates images independently, and uses acquired skills to the fullest.	Sees the beauty of the surrounding world, works of art, folk arts and crafts. Experiences difficulties in conveying his emotional state through images.	Feels the beauty of the surrounding world, works of art, folk arts and crafts. But he cannot independently express his emotional state through image or color.

Table 2 - DIAGNOSTIC TABLE for examining the level of development of children of senior preschool age in artistic and creative activities

Note:

“B” - high level of development

“C” - average level of development

“N” - low level of development

II. Stages of development of artistic and creative abilities

Regardless of what abilities a child has and when they manifest themselves, there are four main stages that a child will go through on the path from ability to talent.

1. The first stage is the gaming stage.

At this stage, attentive parents play the role of teachers, mentors, and generous heroes, being role models. The child only “plays” with his abilities, trying on different types of activities and hobbies.

Children may be interested in absolutely everything or, conversely, in one thing, but the initial passion may fade when faced with the first difficulties. Therefore, the motto of parents at this stage is: “Slowness, calmness, prudence.”

2. The second stage is individuality.

This stage usually occurs at school years, although there are children whose abilities clearly manifest themselves much earlier.

At this stage, family traditions play a big role. For example, in the families of circus performers, children literally from the cradle begin to perform with their parents and, bypassing the stage of play, become involved in the life of the performers, gradually getting used to daily work. The further creative fate of such children is predetermined. But this is the exception rather than the rule.

Most school-age children enroll in some kind of club, section or studio, and then the child has mentors who work with him individually. The speed of his progress is a reward for teachers. This stage is characterized by the fact that adults constantly adapt to the child learning his talent.

If children suddenly stop making noticeable progress, parents consider the teacher guilty and try to replace him. Therefore, at this stage, the individual mentor plays a major role. He can even subordinate the routine of the entire family to the routine of the young talent, that is, the parents interact very closely with the mentor. At this stage, the child usually already shows a desire to work and achieve high results.

3. The third is the growth stage. The child now needs a more qualified teacher, who becomes the main judge of his success. Parents take a subordinate position, their role is reduced to moral and material support. At this stage, to maintain the desire to work and achieve results, competitions, concerts or competitions taking place outside the home are very important. Parents now act as spectators.

4. The fourth is the stage of mastery.

At this stage, a teenager, if he is truly talented, surpasses his peers, and sometimes mentors, and turns into a real master in his chosen field. This happens rarely, and only a few reach such heights.

Teachers and parents need to be very careful at this stage so as not to lead the child to “star fever.”

1. At the first stage, the child reaches for his parents.

2. At the second stage, the teacher begins to play an increasingly prominent role in the development of the child’s abilities

3. At the third stage, parents are already dealing with an established personality.

Despite the ever-increasing role of a professional teacher in the growth and development of a child’s talent, the importance of parents at all stages is extremely great. The basis for the pledge of teachers is the growth of professional skills. The task of parents is to develop the ability to live, which is necessary for any child, regardless of his talents.

One of the conditions for the manifestation of creativity in artistic activity is the organization of an interesting meaningful life for a child: organization of everyday observations of the phenomena of the surrounding world, communication with art, material support, as well as taking into account the individual characteristics of the child, careful attitude to the process and result of children's activities, organization of an atmosphere of creativity and task motivation. The formation of motives for visual activity from acceptance, retention, and implementation of the topic set by the teacher to independent formulation, retention and implementation of the topic is one of the important tasks of teaching. The next task is the formation of perception, since visual activity is possible at the level of sensory perception: the ability to examine objects, peer, isolate parts, compare shape, color, size with sensory standards, determine the characteristics of an object and phenomenon. To create an artistic and expressive image, it is necessary to have an emotional aesthetic perception, to develop in the child the ability to notice the expressiveness of shapes, colors, proportions and at the same time express his attitude and feelings.

III. Factors in the development of artistic and creative abilities

Certain conditions are necessary for the development of artistic creativity:

a) experience of artistic impressions of art images;

b) some knowledge and skills in the field of various types of artistic activity;

c) a system of creative tasks aimed at developing in children the ability to create new images, using the means of different types of art;

d) creating problem situations that activate the creative imagination (“finish the drawing”, “come up with it yourself”, “finish the design yourself”);

e) a materially enriched environment for artistic activities.

When using fine art to develop the artistic and creative abilities of children, it should be remembered that fine art has its own language, which helps the artist express thoughts, feelings, and his attitude to reality. Through the language of art, life is reflected by the artist in all its diversity. I.B. Astakhov writes that the visual language inherent in each type of art is not something external to the specifics of the artistic image. Being a material form of expression, it represents one of the essential aspects of figurative specificity.

The language of fine art is diverse. The teacher needs to know it, since in kindergarten classes the active formation of artistic perception occurs. Preschool children need to be introduced to some features of the language of visual arts. In this regard, starting from early preschool age, the teacher first sets the task - to form in children emotional responsiveness to works of art (what feelings the artist conveys in a painting, sculpture) - then pays attention to how the artist talks about the surrounding reality, and then after that, he directs all attention to the means of figurative expression.

Knowledge of the basics of art makes it possible to consider its place in the aesthetic education of children, taking into account their age and individual characteristics. However, it is impossible to mechanically transfer the features of the language of fine art, characteristic of the work of professionals, into the activities of a child.

Let's look at the means of expression specific to each type of fine art, and then turn to children's creativity.

Among the types of art, a distinction is made between fine (painting, graphics, sculpture) and non-fine art (music, architecture), although this division is conditional. This difference is not absolute, since all types of art express an attitude towards some aspects of life. And yet, the distinction between the arts is decisive in the morphology (classification) of the arts, since it is based on the distinction of the subject of display.

Fine arts turn to reality as the source of formation of the human world (V.A. Razumny, M.F. Ovsyannikov, I.B. Astakhov, N.A. Dmitriev, M.A. Kagan). Therefore, the basis is the image of the objective world. Thoughts and feelings are transmitted indirectly in them: only by the expression of the eyes, facial expressions, gestures, and appearance of people can one learn about their feelings and experiences.

In the course of the development of art, its fine and non-representative types mutually nourish and enrich each other. For example, painting is characterized by a tendency towards an increasing use of color to enhance the expressive principle. In the drawing there is a tendency towards characteristic lines, contrasts of dark and light.

By teaching children to perceive works of art, we thereby make their visual activity more expressive, although it is quite obvious that in this process there is no mechanical transfer of the methods of activity of an adult artist into the activity of a child. Let's consider what relationships are established and how to influence in order to help children create an expressive image in drawing and modeling.

We consider color to be a characteristic expressive means of painting, thanks to which the artist is able to convey all the diversity of the surrounding world (the richness of color shades, the emotional impact of color on the viewer). At the same time, the composition, the rhythm of the color spots, and the pattern are important in the painting. The artist can use all these means, enhancing or weakening their impact on the viewer.

Color in a drawing is the most striking means of attracting the attention of children, emotionally affecting their feelings (E.A. Flerina, N.P. Sakulina, V.S. Mukhina). Children's attraction to bright, pure colors gives their drawings expressiveness, festivity, brightness, and freshness. Children's perception of landscape, still life (in painting), graphic drawings that are characteristic in content and expressiveness, contributes to the formation of imagery in their creativity. “Therefore, when forming an artistic and figurative beginning, the main attention, starting from an early age, is directed to color as an expressive means with which one can convey the mood, one’s attitude towards what is depicted.”

Thus, in the first junior group, when drawing a pattern for cheerful nesting dolls, the teacher used pure colors of paint, drawing the children’s attention to the combination of the background and the color of a bright spot: it was thanks to this that the perception of the image of cheerful elegant nesting dolls, dressed in beautiful sundresses, was formed. In every drawing or appliqué lesson, this method was the main one.

Compared to children in the senior and preparatory groups, the teacher forms in children a more differentiated attitude towards color as a means of conveying mood and feelings (color sad, mournful, gloomy; color cheerful, joyful, festive).

This idea of ​​color took place both in subject and subject drawing. For example, children were able to convey the mood of a cheerful Christmas tree holiday if they used a bright color palette. In each drawing you can see a combination of contrasting bright, saturated colors, creating an overall festive flavor.

Another expressive means - the nature of the line, contour, transmission of movement in the drawing of a preschooler - is the most specific. The nature of the lines of an adult artist is determined by the level of his skill and ability to generalize. The drawing is most often laconic and has the appearance of a sketch. Drawings can be lined or colored.

Compared to painting, the language of a graphic work is more spare, laconic and conventional. The artist A. Kokorin writes: “Drawing always seems like a miracle to me. The artist has a sheet of white paper, pencil or ink. Operating only in black and white, he, like a magician, creates his own world of plastic beauty on this simple sheet of paper.” Indeed, in drawing, color does not play such a role as in painting, since the drawing can be made using graphic materials: pencil, charcoal. However, work done in watercolors, gouache, and pastels can be very picturesque.

Preschool children gradually, starting with the simplest strokes, move on to the most complete depiction of objects and phenomena.

The desire to convey color gives brightness and richness to the drawings of older preschoolers.

When introducing children to another type of fine art - sculpture, which conveys volumetric form objects, people, animals, all attention is fixed on the nature of the character’s image.

Mastering different methods of examining a sculpture provides additional information about the image of a person or animal.

In the studies of N.A. Kurochkina, N.B. Khalezova, G.M. Vishneva shows the sequence of formation of aesthetic perception of a sculptural image in preschoolers. In the work of G.M. Vishneva shows the specificity of the perception of an artistic image in sculpture, the possibility of enriching sculpting works under the influence of examining sculpture of small forms.

Analyzing the work of children, it should be noted how they mastered sculpting from a whole piece (as a technique for sculptural sculpting), sculpting from different materials(the motivation for the choice is dictated by the nature of the image). Artistic perception is most fully formed in older preschool age, when children can independently convey a sculptural image, give assessments, and express aesthetic judgments about it.

The methods for developing artistic perception are different: the teacher uses conversations about art, sculptures, and play situations in which children compare and recognize images of different artistic expressiveness.

In addition, the use of sculpture in classes on speech development, telling fairy tales, and inventing stories about these characters not only enriches children’s knowledge, but also develops their imagination. Children's vocabulary is replenished with figurative expressions, which reveal the amount of children's knowledge about this type of art.

The teacher, teaching children to look at works of different types of fine art, gradually introduces them to beauty. On the other hand, this influences the methods of figurative expressiveness with which children convey their impressions of the surrounding reality in drawing and modeling.

With the relationship between learning and creativity, the child has the opportunity to independently master various artistic materials, experiment, and find ways to convey an image in drawing, modeling, and appliqué. This does not prevent the child from mastering those methods and techniques that were unknown to him (the teacher leads the children to the opportunity to use variable techniques). With this approach, the learning process loses the function of direct following, imposing methods. The child has the right to choose, to search for his own option. He shows his personal attitude to what the teacher offers. Creating conditions under which a child reacts emotionally to paints, colors, shapes, choosing them at will, is necessary in the creative process.

Thanks to the perception of artistic images in the visual arts, the child has the opportunity to more fully and vividly perceive the surrounding reality, and this contributes to the creation of emotionally charged images by children in the visual arts.

In addition, art helps to form an emotional and value-based attitude towards the world. The need for artistic activity is associated, first of all, with the child’s desire to express himself and affirm his personal position.

IV. Development of creative abilities in drawing

4.1 Painting as a type of artistic and creative activity

Each type of visual activity has its own capabilities and means for depicting objects and phenomena, together making it possible to display reality in a diverse and versatile way.

Drawing is a more complex means of representation than modeling and appliqué.

Drawing with paints and applying strokes on paper attracts the attention of a child even in pre-preschool age. Children about one and a half years old are already willing to do this, but such activities at first have the nature of fun, playing with a pencil. In early preschool age, drawing takes on the character of an image. Children draw in kindergarten with pencils and paints. By painting with paints, a child has the opportunity to more holistically, albeit undifferentiated at first, convey the shape of an object and its color. Linear pencil drawing allows you to more clearly convey the parts and details of an object. In this process, visual control over the movement of the drawing hand, over the line forming the contour of the object, is of great importance. Drawing with colored materials (pencils or paints) allows you to convey the color of objects. Children, drawing patterns, decorate squares, circles, stripes, as well as toys they sculpted from clay and made from paper.

Expressing coherent content in a drawing requires mastering the transfer of the space in which objects are located, their comparative size, and position relative to each other.

The uniqueness of each type of visual activity determines the tasks of education and development.

Children are engaged in drawing mainly while sitting at the table, so it is of great importance to develop the correct skills of sitting, the position of hands on the table, and legs under the table. This is very important for the physical development of children.

Each visual activity lesson begins with the teacher addressing the children, talking with them, and often also showing some visual material. Therefore, it is necessary from the very beginning to educate children to pay attention to words and visual demonstrations. Visualization is of great importance in visual arts classes. This promotes the development of observation; children develop the ability to look longer at what is shown to them, and repeatedly refer to visual material in the process of doing work.

At the same time, children develop an increasingly consistent attention to verbal instructions that are not supported by the display of visual material.

It is extremely important from the very first steps to cultivate in children a sustainable interest in visual arts, which helps develop perseverance, ability to work, and perseverance in achieving results. This interest is initially involuntary and is aimed at the process of the action itself. The teacher gradually carries out the task of developing interest in the result, in the product of the activity. This product is a drawing, visual and thereby attracts the child to itself, attracts his attention.

Gradually, children become more and more interested in the results of their work, the quality of its execution, and not only experience pleasure in the drawing process itself.

Children of six or seven years old, who are on the threshold of school, have new motives for their interest in classes - a conscious desire to learn to draw well. There is an increasing interest in the process of doing work according to the instructions of the teacher in order to get a good result. There is a desire to correct and improve your work.

Starting from the younger group, I instill in children an interest in the work of their comrades, a friendly attitude towards them, and the ability to fairly evaluate them. The teacher himself needs to be as tactful and fair as possible when assessing work, to express his comments in a soft, friendly form. Only under this condition can friendly, companionate relationships be fostered between children.

The activity of children in the process of doing work is manifested at a good pace and continuity. In this regard, in younger groups, significant individual deviations are acceptable: some children are faster and more active, others are slow and lethargic. In the middle group, I increase the requirements for completing work without distractions, and try to overcome the slow pace that is characteristic of some children. I achieve this patiently and persistently, but I do not make categorical demands to the children in a harsh form. In the older group, the fight against slowness and frequent distractions from work takes on special importance in connection with preparation for school

It is necessary to take care not only about a good pace of work, but also about the thoroughness of its implementation, without haste, which prevents you from doing the work accurately, fully expressing your idea, and making it complete.

Accuracy and thoroughness in performing work depends not only on discipline, but also on mastering the skills of using a pencil and brush. Drawing skills are related to the development of a child’s hands - coordination, accuracy, smoothness, and freedom of movement. The development of movements in different types of visual activity is united by a goal setting that directs this development to the image and transfer of the shape of objects or to the construction of a pattern or decoration. All children master these skills very differently, but with the right teaching methods, they all master them to the extent provided for by the kindergarten program.

Of considerable importance for the development of movements are the labor skills that children acquire in the process of preparing for art classes and cleaning up after them. With each year of being in kindergarten, the demands on children increase, both in terms of preparation and cleaning, as well as in terms of the duties of group attendants.

Children invariably grow in responsibility for every task entrusted to them. Having made an effort and received approval, the child experiences joy and his mood rises.

Along with instilling in children the ability to be attentive to the teacher’s instructions, the development of their independence, initiative, and self-control is very important. Excessive care is harmful - children must understand that they must rely on their own strengths, independently figure out how and what to do, what to do next. I am always ready to help, but do not take care of children when they do not need it. At the same time, it should be remembered that even older preschoolers cannot be active and consistently active in everything without the support of a teacher.

Children enjoy drawing, largely due to the fact that these activities include the process of inventing content and developing actions close to play. I support this desire by not limiting children only to the task of depicting individual objects. Inventing the plot of your drawing not only gives children pleasure, which is also very important, but also develops imagination, invention, and clarifies ideas. I take this into account when outlining the content of the lessons, and do not deprive children of the joy of creating characters, depicting the place of their action and the action itself using the means available to them, including a verbal story.

In the process of visual activity, favorable conditions are created for the development of those sensations and emotions that gradually turn into aesthetic feelings and contribute to the formation of an aesthetic attitude to reality. Already in early preschool age, the transfer of such qualities of objects as shape, color, structure, size, position in space contributes to the development of a sense of color, rhythm, form - components of the aesthetic sense, aesthetic perception and ideas.

Enriching the experience of children with observations of the environment, one should constantly take care of aesthetic impressions, show children the beauty in the life around them; When organizing classes, pay attention to ensuring that children have the opportunity to express the aesthetic impressions they have received, and be attentive to the selection of appropriate material.

4.2 Drawing classes are the main form of work to develop creative abilities

When considering the concept of “drawing class as the main form of work,” one should distinguish between the types and types of visual arts classes.

Types of occupations are differentiated according to the nature of things, dominant tasks, or rather, according to the nature cognitive activity children, formulated in the tasks:

Classes to impart new knowledge to children and familiarize them with new ways of depicting;

Classes to train children in applying knowledge and methods of action, aimed at the reproductive way of cognition and the formation of generalized, flexible, variable knowledge and skills;

Creative classes, in which children are involved in search activities, are free and independent in the development and implementation of ideas.

In each type of lesson, I systematically, in conjunction, implement the goal, objectives, and methods of teaching visual arts. In the pedagogical process, all these types of activities take place. However, a student-centered approach to learning is unthinkable without taking into account individuality. Artistic creativity involves the manifestation and development of individuality. One of the conditions for the implementation of this approach is that the teacher takes into account the individual experience of children. Unfortunately, individual experiences are not always easy to identify. That is why in the work system, an occupation of the third type (creative) can not only conclude, but also precede all others. In this case, the teacher has the opportunity to identify the current level of children’s ideas about the subject and ways of depicting it.

Visual arts classes for preschoolers can be differentiated not only by type, but also by type. The same activity can be classified as different types, depending on the selection criteria. Thus, according to the content of the image, drawing is distinguished by representation, from memory, from life, as well as subject, plot and decorative

Visual representation activity is based mainly on the combinatorial activity of the imagination, during which experience and impressions are processed and a relatively new image is created. An image from memory is built on the basis of a representation of a specific object that children have perceived, remembered and are trying to depict as accurately as possible.

There are classes on a topic proposed by the teacher, and on a topic chosen by the children independently, the so-called classes by design or on free topic. This type is the most creative of all activities in which children depict the world around them from their imagination (from their imagination). Its variety is a lesson on a free topic with a limited topic. The teacher defines a broad topic within which individual topics may vary. When working with preschoolers, such a limitation is useful, since the activity, with all its freedom, becomes more focused not to the detriment, but to the benefit of creativity. True creativity is always purposeful.

The introductory conversation in class does not take too much time. It is only important to arouse children’s interest in the topic, motivate the task, and remind them of the need to create diverse, relatively unique images.

During the executive part of the activity, using gaming techniques, “revitalizing” the image, I solve the same problems, but in individual communication.

Diversity, expressiveness, and originality of images are the subject of conversation when viewing the results of such classes.

In the younger group, during preliminary preparation for classes, I play with toys that are available for children to depict independently. Young children most often repeat images they know. I encourage the kids to preliminary discuss the topic of the image, and then offer the material.

Children in the middle group are more free and varied in their search for new topics. I conduct preliminary conversations with them on the eve of the drawing day, in the morning and during the lesson itself. Children of this age are capable of creating expressive images. I spend about half of my classes with middle-aged children on a free topic.

In the older group, this type of lesson is planned approximately once or twice a month. Older children are more independent in their preliminary planning and search for ways of depicting and purposefully carry out the plan. Their ideas are varied and original. Some children show a passion for certain topics and display a fairly high level of imagery and creativity. Older children use various means of expression more boldly, freely, and meaningfully.

Drawing from memory is most often carried out in the preparatory group or in the senior group at the end of the year.

To draw from memory, I usually choose simple objects with well-defined parts, relatively simple shapes, few details, perhaps depicting simple landscapes. It is important that the object of the image is expressive, different from others, and memorable (shape, color, size).

Image from life. The possibility of preschoolers depicting an object or phenomenon in the process of its direct perception from a certain point of view with the goal of conveying it as accurately and expressively as possible has long been disputed in preschool pedagogy. In the study by T.G. Kazakova shows that a preschool child can depict an object from life without conveying volume and perspective. The preschooler depicts the shape with a linear outline, structure, relative size of parts in an object, color, location in space.

Types of activities identified by source of ideas, topics. These include classes on topics of directly perceived surrounding reality; on literary themes(by poem, fairy tale, story, small folklore genres, riddle, nursery rhyme), by musical works.

It is especially worth mentioning the so-called comprehensive classes, where different types of artistic activities are combined under one thematic content: drawing, modeling, appliqué, music (singing, dancing, listening), artistic speech.

There cannot be many such activities; it is rather a holiday. It is very important that children develop ethical feelings and joy in what they do. However, achieving this goal may be difficult due to certain objective circumstances. After all, a child’s transition from one type of activity requires a switch of attention. Children do everything that is required of them, but the feeling does not increase. As soon as a child becomes interested in drawing, he needs to switch to another type of activity. The image and the emerging mood are destroyed. The child does not have time to “enter” another image.

This is possible if integrated classes of different types of artistic activity are built not only on the basis of a single thematic content, but also taking into account the nature of the feelings that classes of this kind are designed to evoke.

So, the basis for the integration of different types of arts in the classroom should be a system-forming principle. This could be the theme. But this is not enough. Equally, and perhaps more important, is the moral and ethical feeling.

Another integrating point, combined with the others, may be the task of developing creativity in the perception and creation of artistic images. The role of the teacher in such classes is great. He has a personal influence on children not only by example of a sincere feeling and attitude towards art, but also by the ability to build and conduct such an activity, demonstrating creativity, taste, a sense of proportion, and the ability to improvise, which is so necessary in live communication with children. The more engaged children are, the more liberated and creative they become.

The most interesting activities that stimulate the creative potential of children, and therefore develop their artistic and creative abilities, are various entertaining activities.

Entertaining means a quality that evokes not just curiosity, but deep, lasting interest. That is, the goal of conducting entertaining activities is to create sustainable motivation for artistic and creative activity, the desire to express one’s attitude and mood in an image. It is impossible to make all classes entertaining, and it is useless to strive for this. But the teacher not only can, but also must, introduce elements of entertainment into every lesson.

Entertaining activities are divided into two types: with traditional visual materials and with non-standard or non-traditional materials.

Among the first, the most advantageous in terms of entertainment are activities of an integrated nature. Previously, they were called complex. Such classes combined elements of several areas of educational work, which could not but arouse children's interest. Although, in fact, each art activity lesson is complex, because literary fragments, a musical background, etc. are constantly used. In classes with various visual materials, the artistic word is widely used.

Integrated classes also include those where several types of visual activities are used at once - drawing, modeling, and appliqué.

However, conducting complex (integrated) classes in visual arts (art + mathematics; fine arts + ecology; fine arts + music + physical education) requires special training for both the teacher and the children, and usually such classes are held in a specific preschool educational institution group no more than twice a quarter.

Therefore, at other times, activities of the second type - with non-traditional materials, or rather, using non-standard drawing techniques - help children maintain stable motivation for artistic and creative activity. After all, the visual material can be the same - for example, gouache paint. You can use it in the spraying technique, and mixing paint with grains, salt, and painting with a glue brush on the smooth surface of cardboard, and in the technique of drawing with ink blots, monotype, diatipia, in the finger technique, splashing on the background with a mask, thread, using imprint.

There is even such an unusual technique as painting with oranges - when paint diluted to the thickness of sour cream is poured into a small tray or box, a sheet of paper is placed, and the orange acts as a “brush”.

One way or another, the creation of a creative atmosphere depends on the desire and ability of an adult to create conditions for the development of children's creativity. If the teacher himself does not like to draw, sculpt, or create, it will be difficult for children to learn something from him.

Thus, entertaining activities are a decisive factor in the artistic development of preschool children.

4.3 Drawing classes using non-traditional techniques as a means of developing creative abilities

Experience shows that one of the most important conditions for the successful development of children's artistic creativity is the diversity and variability of working with children in the classroom. The novelty of the environment, an unusual start to work, beautiful and varied materials, interesting non-repetitive tasks for children, the opportunity to choose and many other factors - this is what helps prevent monotony and boredom in children's visual activities, and ensures the liveliness and spontaneity of children's perception and activity. It is important to create a new situation every time so that children, on the one hand, can apply previously acquired knowledge, skills, and abilities, and on the other hand, look for new solutions and creative approaches. This is what evokes in a child positive emotions, joyful surprise, and a desire to work creatively. T.S. Komarova points out: “However, it is often difficult for educators to add variety to all moments of work and to children’s free activities; it is often difficult for educators to come up with many options for activities on topics. Drawing, modeling, applique as types of artistic and creative activity do not tolerate templates, stereotypes, once and for all established rules, and yet in practice we often encounter exactly this situation (“A tree is drawn from the bottom up because it grows that way, and the house like this”, etc.)”.

To prevent children from creating a template (draw only on a landscape sheet), sheets of paper can be different shapes: in the shape of a circle (plate, saucer, napkin), square (handkerchief, box). Gradually, the baby begins to understand that you can choose any piece of paper for a drawing: this is determined by what is to be depicted.

It is necessary to diversify both the color and texture of the paper, since this also affects the expressiveness of drawings and appliqués and confronts children with the need to select materials for drawing, think through the coloring of the future creation, and not wait ready-made solution. More variety should be introduced into the organization of classes: children can draw, sculpt, cut out and paste, sitting at separate tables (easels), or at tables of two or more pushed together; sit or work standing at tables located in one row, at easels, etc. It is important that the organization of the lesson matches its content so that the children can work comfortably.

Children are especially interested in creating images based on fairy tale themes. Children love fairy tales and are ready to listen to them endlessly; fairy tales awaken children's imagination. Every child has their own favorite works and fairy-tale characters, so the offer to draw pictures for fairy tales or sculpt magical characters always evokes a positive response from children. However, drawing, applique, and modeling based on fairy tale plots need to be diversified. So, all children can create the image of the same character. In this case, considering together with the kids finished works, you should pay attention to the difference in visual solutions, to some original finds. For example, if children drew a cockerel from the fairy tale “The Fox and the Hare,” you can then ask them to choose the largest cockerel, note who has the most beautiful and brave cockerel. You can conduct a lesson in which children will portray various fairy-tale animals. Another time they draw illustrations for one fairy tale, and everyone decides for themselves which picture they will draw.

The lesson can go like this: the guys together create illustrations for their favorite fairy tale, and then take turns telling the episode they depicted. Children respond with great pleasure to the teacher’s offer to draw or cut out and paste a general picture to some work, for example, “Dunno in the Sunny City” by N. Nosov, “Cheburashka and the Crocodile Gena” by E. Uspensky, “A Pot of Porridge” by the Brothers Grimm and etc. When inviting children to create images based on fairy tale themes, it is necessary to diversify the materials.

The more diverse the conditions in which visual activity takes place, the content, forms, methods and techniques of working with children, as well as the materials with which they work, the more intensely children’s artistic abilities will develop.

Conclusion

The ability to be creative is a specific human feature, which makes it possible not only to use reality, but also to modify it.

The problem of developing the abilities of preschoolers is today in the focus of attention of many researchers and practitioners working in preschool education; there are many articles, teaching aids, collections of games and exercises, both on the development of various mental processes at this age, and on the development of various types of abilities of general and special focus.

The problem of general and special abilities invariably attracted the attention of Russian psychologists back in the 40s - 60s. last century. The works in this area of ​​prominent domestic scientists are well known: B.M. Teplova, S.L. Rubinshteina, B.G. Ananyeva, A.N. Leontyeva, A.G. Kovaleva and others.

In relation to visual activity, it is important to highlight the content of the abilities that manifest themselves and are formed in it, their structure, and the conditions of development. Only in this case is it important to purposefully develop a methodology for developmental teaching of visual arts.

Visual activity is a reflection of the environment in the form of specific, sensually perceived images. The created image (in particular, a drawing) can perform different functions (cognitive, aesthetic), since it is created for different purposes. The purpose of the drawing necessarily influences the nature of its execution. The combination of two functions in an artistic image - image and expression - gives the activity an artistic and creative character, determines the specifics of the indicative and executive actions of the activity. Consequently, it also determines the specificity of abilities for this type of activity.

The conditions under which a child reacts emotionally to paints, colors, shapes, choosing them at will are very important. Thanks to the education of artistic images in the fine arts, the child has the opportunity to perceive the surrounding reality more fully and vividly, which contributes to the creation of emotionally charged images by children.

...
thesis, added 08/11/2017

Objectives of teaching drawing in preschool age. Types of non-traditional image techniques. Visual materials used in children's creativity. Results of the level of development of creative abilities using these drawing methods in the classroom.

creative work, added 02/07/2016

The role of visual activity in the mental development of a child. Analysis and comparative characteristics of educational programs on the problem of developing creative abilities in children. A system of work for the development of creative abilities in art activities.

thesis, added 08/17/2011

Psychological conditions for the development of creative abilities in children of senior preschool age. Types of non-traditional artistic techniques and their use. Technology of working with children to develop creative abilities using artistic techniques.

course work, added 05/04/2014

Consideration of psychological and pedagogical literature on the problem of developing the creative abilities of preschool children. Identification of the level of development of children's abilities. Development of a set of creative drawing tasks; formation of prerequisites for educational activities.

course work, added 06/04/2014

The essence of the concept of "creativity". Basic conditions for the development of creative abilities. Development of creative abilities in literary reading lessons. Criteria and means for diagnosing the level of development of creative abilities of junior schoolchildren.

course work, added 12/19/2014

Theoretical aspects of the development of creative abilities. The nature of creative abilities and the essence of the creative process. Approaches to determining creative abilities. Development of creative abilities of schoolchildren when using a mathematical newspaper.

course work, added 06/12/2010

The essence, developmental features and main characteristics of creative abilities. Pedagogical conditions development of creative abilities in younger schoolchildren through project activities. Diagnostics of the level of formation of creative abilities.

course work, added 08/21/2017

Pedagogical foundations for the development of creative abilities of preschool children in additional education. Implementation of an additional educational program for the development of artistic and creative abilities of preschool children.

In what types of activities are the slightest achievements of a child more visible and accessible for objective monitoring? In addition to motor (physical) activity, the results of which can be reliably measured and compared, described quantitatively and qualitatively, certain advantages of artistic and productive activity should be noted.

The results of visual activity, design and artistic work are usually materialized in the form of a specific product (drawing, collage, toy, model, design, etc., objectively reflect the dynamics of artistic and general development of children, visualize the complex, contradictory, multidimensional process of the formation of aesthetic emotions and artistic taste and the general culture of each child, and also make it possible to significantly expand the temporal and spatial boundaries of the monitoring itself. Products of artistic activity can be stored for a long time, do not change their content (the subject of monitoring) over time, are easily recorded using a camera and video equipment, and can be presented to another expert All this taken together allows us to objectively assess the level of artistic, aesthetic and general development of each child.

Let us consider in dynamics how the formation and development of artistic and productive activity occurs, integrating many lines of development of a preschool child. Let us pay attention to the logic of the transition of organized activity into free independent creativity of children.

Second junior group (3-4 years)

Shows a strong interest in decorative and applied arts, small plastic arts, and book graphics; knows ways of visual and tactile examination of various objects to enrich perception.

Can reflect his ideas and impressions about the world around him in various types of visual activities (drawing, modeling, appliqué) and in the process of artistic work, children's design.

Creates recognizable images of specific objects and phenomena of the surrounding world; conveys a generalized form and color using accessible artistic methods (constructive, plastic, combined, modular, frame, etc.)

Distinguishes, correctly names and independently uses the main building parts (cube, brick, plate) for their intended purpose; purposefully creates, examines and freely plays with the simplest buildings (fence, fence, bridge, sofa, table, house, etc.).

Middle group (4-5 years old)

Educational field "Artistic aesthetic development»

Depicts familiar objects and phenomena (everyday, natural, social) with interest; independently finds and embodies in drawings, collages, figurines, designs simple plots on topics from the surrounding life, fiction, favorite cartoons.

In the created images, he conveys various features of the depicted objects using accessible graphic, pictorial and plastic means (shape, proportions, color, texture, characteristic details, confidently masters various artistic techniques.

He enjoys constructing various products and buildings from building parts, paper, cardboard, natural and household materials, and furniture. At the same time, it takes into account both the structural properties of materials (shape, stability, size, placement in space, and the purpose of the building itself; creates variants of the same object, taking into account the design task.

Expresses his/her ideas, experiences, feelings, thoughts using accessible visual, expressive and constructive means; shows aesthetic emotions and feelings when perceiving works of different types and genres of art.

Senior group (5-6 years old)

Educational field "Artistic and aesthetic development"

Independently creates expressive images of various objects and phenomena of the surrounding world on the basis of formed ideas about them, while trying to convey not only the main features (shape, color, proportions, texture) of the depicted objects, but also various relationships between them, as well as his personal attitude.

In various types of visual activity, he strives to embody detailed plots; in decorative and design activities, he creates products that harmoniously combine the form, decor and purpose of the item.

Independently creates structures from building parts and other materials of various shapes, sizes, materials and textures (natural and household, ready-made and unformed); freely combining and adequately replacing them, in accordance with the constructive task or your creative concept; understands the method and sequence of actions, plans the work independently and analyzes the results.

Successfully applies mastered artistic techniques and methods, freely combines them to realize his creative ideas; on his own initiative, masters new techniques (monotype, collage, mosaic, grattage, decoupage, quilling, papier-mâché, origami, kirigami, etc.) and various visual and expressive means; interested in fine and decorative arts; notices beauty and harmony in the world around him.

School preparatory group (6-7 years old)

Educational field "Artistic and aesthetic development"

Independently, freely, and with interest, he creates original plot compositions on various topics from his close surroundings (family, kindergarten, everyday social and natural phenomena, holidays, as well as based on ideas about the “distant” (nature and culture on other continents, travel, space, “past” and “future” of humanity (history, funny adventures).

In creative works, he conveys through various visual and expressive means his personal impressions about the world around him (a sad or cheerful person, a good or evil fairy-tale character, etc.).

Passionately, independently, creatively creates high-quality design products, building structures, installations from finished parts and various materials (household and natural), taking into account their function and place in space;

Designs according to a plan, a condition (or a series of conditions, a verbal problem, a diagram, a photograph, a drawing, a sample (with a change in perspective);

Easily modifies buildings according to the situation, changing height, area, stability, etc.;

Willingly participates in teamwork or a plot game associated with the construction of game buildings and attributes;

Plans his activities independently and critically evaluates the results.

Successfully implements creative ideas, freely and skillfully combines various artistic techniques;

Able to plan work and collaborate with other children in the process of creating a collective composition;

He is interested in fine and decorative arts, and has experience as a “spectator” in an art museum and at an art exhibition.

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Pedagogical project Artistic and aesthetic development of children of senior preschool education in the process of play

Introduction

“Let us take a closer look at what place play occupies in a child’s life... For him, play is the most serious matter. The game reveals itself before

children the world, the creative abilities of the individual are revealed. Without them there is not and cannot be full-fledged mental development. A game is a huge bright window through which a life-giving stream of ideas and concepts about the world around us flows into the child’s spiritual world. Play is the spark that ignites the flame of inquisitiveness and curiosity.”

V. A. Sukhomlinsky

Preschool age is one of the important stages at which the foundations of an artistic, aesthetic, creative attitude to reality are laid. This period, according to L. S. Vygotsky’s definition, is “the first stage in the system of continuous art education, the goal of which is to most fully reveal the entire enormous creative potential of the child.” Modern achievements of theory and practice in the field of artistic and aesthetic education reflect various directions in the development of preschoolers' aesthetic perception of reality, the ability to see the world artistically, familiarize themselves with the world of art and the development of artistic and creative abilities.

Theoretical basis artistic and aesthetic education of preschool children are presented in a number of psychological and pedagogical studies by N. A. Vetlugina, T. N. Doronova, G. G. Grigorieva, E. A. Dubrovskaya, S. A. Kozlova, T. S. Komarova, E M. Torshilova, T. Fokina, etc. The works of these authors define the tasks of artistic and aesthetic education of senior preschoolers.

Research by V. N. Avanesova, Z. M. Boguslavskaya, A. K. Bondarenko, L. A. Wenger, M. I. Voloshina, E. I. Tikheyeva, D. B. Elkonin and others reveals the role of didactic games in education and upbringing of preschool children. These authors emphasize the pedagogical value of didactic games, which lies in the fact that they promote the development of sensations and perceptions in preschoolers, the formation of ideas, and the acquisition of knowledge.

Artistic and aesthetic education of preschoolers has a cognitive, emotional, motivational and active, creative constructive orientation. The result of this education is the artistic and aesthetic development of preschool children, which is not limited only to contemplative tasks, but forms the ability to create beauty in art and life.

Didactic games are one of the means of artistic and aesthetic education for older preschoolers. They contribute to the development of cognitive abilities, the acquisition of new artistic and aesthetic knowledge, their generalization and consolidation. In the process of didactic games, children clarify, consolidate, and expand their existing ideas about the aesthetic side of the world around them, art, learn to make evaluative aesthetic judgments, and master the techniques of manual creativity. Didactic games aimed at the sensory development of children, in particular at the development of a sense of color, have great potential: they allow children to be introduced to the qualities and properties of objects (in this case, color). In the process of various didactic games, children learn to identify the color of objects, name shades and colors, compare objects by color, and group them by similarity in color. All these activities develop and consolidate children’s knowledge and ideas about color and contribute to the formation of a sense of color. Didactic games that precede visual activity prepare children for a more free and accurate reflection of colors and shades in drawing and appliqué.

Children operate with existing knowledge about color, which is acquired, systematized, and enriched during the game. With the help of the game, the child gains new knowledge about a particular color. At the same time, during the game, children's color vocabulary is activated.

In didactic games and exercises, children must be given the opportunity to:

1) re-perceive cognizable objects and their properties, practice recognizing and distinguishing them;

2) formalize sensory impressions, clarify the names of objects and their characteristic properties (shapes, sizes, colors, etc., navigate not only by appearance subject, but also by verbal description;

3) make primary generalizations, group objects into groups according to common properties;

4) correlate, compare the vital properties of objects with existing measurements, sensory standards (for example, the shape of objects with geometric shapes, their color with the main colors of the solar spectrum, and so on).

Didactic games and exercises can perform another important function – monitoring the state of children’s sensory development. In the general system of sensory education in kindergarten, didactic games thus solve educational problems. In addition, they are a good school for children to use the acquired sensory experience, ideas and knowledge and, finally, perform the function of monitoring the progress of sensory perception.

The implementation of these functions, especially the educational function, which requires a system and consistency in presenting learning tasks to children, largely depends on how correctly and fully the possibilities of didactic games and exercises are used.

The didactic meaning of games and exercises lies precisely in the fact that the child gets the opportunity to act BY HIMSELF, repeat various practical operations many times, and effectively feel the results of his mental and practical efforts. Under these conditions, the material with which children work, the properties of which they learn, becomes the main didactic principle in the implementation of sensory education tasks.

Conclusion

The use of didactic games in the educational process of older preschoolers is a purposeful and systematic process that includes the management of didactic games, which requires a lot of thoughtful work from the teacher in the process of preparing and conducting them. This is enriching children with relevant knowledge, selecting didactic material, and sometimes preparing it together with students and their parents, organizing the environment for the game, as well as clearly defining their role in the game. The role of didactic games in the artistic and aesthetic education of older preschoolers is that they are used as a means of acquiring artistic knowledge, developing artistic perception, artistic aesthetic taste, observation, attention, memory, thinking, speech, testing and consolidation of acquired technical skills.

Based on the recommendations of N.A. Vetlugina and A.G. Gogoberidze and in accordance with the structure of artistic and aesthetic activity, criteria and indicators of artistic and aesthetic development of older preschoolers were determined.

Based on the criteria and indicators, the levels of artistic and aesthetic development of children of senior preschool age were determined and diagnostics were carried out.

Based on the identified data, a technology was developed for the artistic and aesthetic development of children with the help of specially selected and systematized didactic games.

The main goal of the developed technology is the artistic and aesthetic development of children through didactic games.

Thus, all the work on the artistic and aesthetic development of children through didactic games contributed to the active participation of children in these games. This made it possible to develop children’s artistic and cognitive interest in acquiring artistic and aesthetic knowledge, positive emotional attitude to artistic and aesthetic activities, the need to create handmade products stimulated the ability of every child to comprehend the sense of beauty. Children learned to express aesthetic judgments and give an emotional and aesthetic assessment of works of art, and mastered the techniques of manual creativity in drawing, modeling, and design.

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Diagnostics of mastering fine arts by older preschoolers - Artistic and aesthetic development of older preschoolers - Pedagogy - Test.ru

Page 1

The construction of an optimal process of artistic and aesthetic development of children is greatly facilitated by the study of the characteristics of the artistic and aesthetic experience of pupils. This ensures that the goals of the selected program are correlated with the capabilities of the children in the group and that necessary adjustments are made to pedagogical process.

The purpose of the diagnosis: to identify the features of the artistic and aesthetic development of preschool children (based on the material of mastering the fine arts).

Diagnostic tasks are related to identifying the characteristics of the manifestation of an aesthetic attitude in preschool children to objects of fine art - landscape, still life, portrait.

Methods for processing and analyzing materials.

All data obtained as a result of the diagnostics were recorded in a table, where:

H – low level (blue)

the child is not interested in and does not like to engage in artistic activities;

does not know and does not name the genres of fine art - portrait, landscape, still life;

does not show interest when looking at aesthetically attractive objects;

does not answer questions of an aesthetic nature (about art, aesthetic objects, aesthetic terms, visual techniques and tools);

does not respond to manifestations of aesthetic character (beauty);

no positive emotional states during visual arts classes;

does not use words in speech - aesthetic categories, aesthetic assessments;

does not use figurative comparisons when examining objects;

does not express his own opinion in relation to works of fine art.

C – medium level (green)

the child shows little interest in artistic activities;

knowledge about the genres of fine art is not sufficiently formed;

fluently examines aesthetically attractive objects;

partially answers questions of aesthetic orientation (about art, aesthetic objects, aesthetic terms, visual techniques and tools);

does not react emotionally enough to manifestations of aesthetic character (beauty);

minor positive emotional states are observed during visual arts classes;

partially uses words in speech - aesthetic categories, aesthetic assessments;

partially uses figurative comparisons when examining objects;

has difficulty expressing his own opinion.

B-high (red)

the child is interested in and loves to engage in artistic activities: he often draws in independent and joint activities;

knows and names the genres of fine art - portrait, landscape, still life;

examines aesthetically attractive objects for a long time – “contemplation”, repeated examination;

answers questions of an aesthetic nature (about art, aesthetic objects, aesthetic terms, visual techniques and tools);

reacts emotionally to the manifestation of an aesthetic character (beauty);

positive emotional states are observed during visual arts classes;

uses words in speech - aesthetic categories, aesthetic assessments, formulates aesthetic judgments;

uses figurative comparisons when examining objects;

expresses his own opinion and shows attitude (“I think the artist drew it like that for a reason,” “I would live here and admire it,” “I really love these beautiful pictures») ;

TASKS TO IDENTIFY THE LEVEL OF ARTISTIC DEVELOPMENT OF PRESCHOOL CHILDREN

In order to check the level of artistic development in visual activities, it is proposed to complete the following tasks.

1. Art perception task

Invite the children to look at two reproductions of a landscape nature and choose the one they like, saying what they especially liked about it. Offer to come up with a name for the picture (this task is for children 4-6 years old).

For younger preschoolers, two products are given ( Dymkovo toy and Khokhloma dishes) and are asked to choose the product that you like best (the beauty of the pattern, color, elements).

2. Drawing task (performance and creativity)

Invite the children to draw, as they imagine, a picture on the topic “Me and my family.” They can choose materials: pencils, markers, paints. Give them a landscape sheet.

Another drawing activity is "What I like to do." Each child will draw what he likes to do.

In the process of verification Special attention turns to the analysis of the products of children's visual creativity, their artistic and figurative expressiveness: not only the content of the drawings, but also the means by which children convey the world around them.

Levels of artistic development

High level (3 points) - children are able to create artistic images using various means of expression. They have a sufficient amount of knowledge about the types and genres of fine art, and have developed an interest in creative activity. Children have practical skills and are fluent in technical skills.

Intermediate level (2 points) - stereotypical images are noted in visual activities. Children are not independent enough when choosing means of expression. The amount of knowledge about fine arts is also not complete enough, although children have mastered practical skills and have technical skills.

Low level (1 point) - children find it difficult to convey images of objects and phenomena. The amount of knowledge about art is very small. Practical skills are not developed, poor technical skills.

FOR ARTISTIC ACTIVITIES IN THE FAMILY

1. Last name, first name of the child, age.

2. Family composition (father, mother, brothers, sisters - their age). ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

3. Parents' profession. _______________________________________________________

__________________________________________________________________________________________________________________________________________________________

4. Do parents show interest in art (what types)? ______________________ ________________________________________________________________________________________________________________________________________________________________

5. What type of artistic activity do you like to do? (drawing, sculpting, appliqué, embroidery, wood carving, etc.). _____________________________ ________________________________________________________________________________________________________________________________________________________________

6. Are children involved in activities together with adults, and how is their participation manifested? _____________________________________________________________________ _____________________________________________________________________

7. The child’s artistic impressions: what he watches on television and listens to on the radio, how many times a week; Does it happen in the theater, what kind of spectacles do you prefer, do adult family members set an example for children?_________________________________________ ________________________________________________________________________________________________________________________________________________________________

9. Conditions: availability of equipment, aids for artistic activities: is there a TV, radio, video recorder, what books, video tapes, theater toys, children's musical instruments are there? ____________________________________ ________________________________________________________________________________________________________________________________________________________________

10. Is there a place for your child to practice his favorite artistic activity? What participation do parents and other family members take in organizing a child’s artistic activities? ______________________________________________________________ ________________________________________________________________________________________________________________________________________________________________

QUESTIONNAIRE FOR TEACHERS TO STUDY THE CONDITION

PEDAGOGICAL WORK ON AESTHETIC EDUCATION IN KINDERGARTEN

FULL NAME. ____________________________________________________________________

1. Indicate your education and work experience. _________________________________________

2. Do you consider it necessary to introduce children to fine and decorative arts? _____________________________________________________

3. Why is it necessary to introduce children to fine arts?_________________ __________________________________________________________________________

4. What is the attitude of children towards fine and decorative arts? ______________________________________________________________________________

5. What personality traits can be formed in the process of introducing children to art? ___________________________________________________________________ ___________________________________________________________________

6. What forms of acquaintance with art do you consider the most appropriate?

_____________________________________________________________________________

7. What is the child’s level of analysis of a work of art? _________________________

8. What types of fine and decorative arts are children familiar with? ______________________________________________________________________________ ______________________________________________________________________________

9. What kind of painting do children recognize and prefer in their creativity? ___________________ ______________________________________________________________________________

10. What do you think influences the aesthetic education of children? _________________________________ ______________________________________________________________________________

11. What types of work find a place in children’s creativity under the influence of art?

_____________________________________________________________________________

12. Do you practice artistic activities based on your interests in a group?

_____________________________________________________________________________

13. What type of arts and crafts do you like best?

_____________________________________________________________________________

14. Do you like to draw, sculpt, or make appliqués from different materials?

_____________________________________________________________________________

15. What else did you want to learn, what techniques to master? __________________________ ______________________________________________________________________________

16. Your suggestions for improving the methodological and subject environment in organizing artistic activities in kindergarten. _____________________________________ _____________________________________________________________________________________________________________________________________________________

On this topic:

More details on the website nsportal.ru

1Questions for review

Instructions: For example, a child is shown an image... and asked to answer questions....

Criteria for evaluation.

The topic is “I’m at the museum” (options: “I’m going to the museum”), or “I’m playing on the computer” (the topic can be adjusted according to age).

Questions about drawing and experience (you can design based on the materials of the 3-volume book on “Diagnostics”). – 4-7 questions aimed at identifying children’s experience of visiting the museum, their impressions, understanding of the rules, etc.

Compile a collection of children's works on the topic:

“I’m going to the museum” (options: I play on the computer”, for younger ones _ “I!”).

You need to: 1 invite 3-5 children to do work on the topic (don’t tell them) how to draw it.

Analyze work on basic cutting tools.

They analyze one of the educational programs - the section “Artistic and aesthetic development of preschool children”

According to the following criteria : Job objectives.

Features of the content (sections, their relationship, accessibility, age-appropriateness, variety of content)

Correlation of sections on the development of perception and activity.

Representation of integration with other sections, means of development (for example, mathematical, musical, etc.)

During the intersessional period, students STUDY THE following questions INDEPENDENTLY:

1. Museum pedagogy. To do this, get acquainted with the presentation on museum pedagogy. Build a response plan.

In the second semester, they review the issued programs on museum pedagogy.

LITERATURE FOR PREPARATION

Grigorieva G.G. Visual activities of preschoolers. - M.: Academy, 1997.

Grigorieva G.G. Development of a preschooler in visual arts: Textbook. aid for students higher ped. establishments. - M.: Academy, 1999. –

Kazakova T. G. Visual activities of younger preschoolers. – M.: Education, 1980. (Introduction).

Theory and methodology of visual activity / Ed. V. B. Kosminskaya. – M.: Kazakova T. G. Develop creativity in preschoolers. – M.: Education, 1985. Education, 1985.

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

Flerina E. A. Visual creativity of preschool children. - M.: Uchpedgiz, 1956.

5 Flerina E. A. Fine arts in preschool institutions. Elements of teaching in guiding a child’s visual creativity // History of preschool pedagogy: Reader / Comp. S. V. Lykov. - M.: Academy, 1999. - P.458-465.

Partial programs

Vorobyova D.I. Harmony: an integrated program for the intellectual and artistic development of the personality of a preschooler. - St. Petersburg: LOIUU, 1995 .

Zolochevsky S. A. What color is the world? Program for the development of color perception for children 6-7 years old - M.: Aspect-press, 1994.

Kozhokhina S.K. Journey into the world of art (development program for children of preschool and primary school age.) M., 2002.

Kozhokhina S.K. Journey into the world of art. Development program for children of preschool and primary school age. M., 2002.

Koptseva T. A. Nature and the artist. Artistic and environmental program. M., 2001.

Kurevina O. A.. Selezneva Journey into beauty. Methodological recommendations for educators, teachers and parents. M., 1999.

Paramonova L. A. Children's creative design. M., 1999.

Razhnikov B. G. About the program of emotional and aesthetic development of children “Little Emo” // Preschool education., 1996, No. 9-p.58-65

Torshilova E. M. Program “Naughty or peace to your home” and methods of aesthetic development of a preschooler - M., 1999.

1. Aesthetic education 1. is understood as a purposeful, systematic process of forming an aesthetic attitude to reality, the formation of a creatively active personality, capable of perceiving and appreciating the beauty in the surrounding world (nature, work, social relations) from the position of an aesthetic ideal, as well as experiencing the need for aesthetic activity, transforming reality according to the laws of beauty.

artistic education22. 2 2 interpreted as education through art.

Art education – the process of mastering by an individual a body of knowledge, skills, and abilities, the formation of ideological attitudes in the field of art and artistic creativity.

artistic and aesthetic development3 3 as a process and result of mastering the aesthetic and artistic experience of humanity, developing the ability to experience various phenomena of reality as beautiful, to respond emotionally to artistic images and the manifestation of beauty in the world; formation and improvement of aesthetic consciousness, attitude and aesthetic activity of a person.

Aesthetic perception 4 as a complex, purposeful, emotionally charged process of reflecting a perceived object from the position of an aesthetic ideal, has a number of features: evaluative, holistic (perception in the unity of content and form), emotional, subjective.

Artistic perception 5 is understood as the process of recognition, understanding, emotional and aesthetic assessment of a work of art.

Art – 6 a specific special form of social creation and human activity, which is a reflection of reality in artistic images, one of the ways of aesthetic exploration of the world, the highest form of aesthetic reflection and knowledge of the world in artistic images, associated with work, life, knowledge.

artistic image , 7 as a form of reflection of reality in art from the position of an aesthetic ideal; an aesthetic category that characterizes a special method and form of mastering and transforming reality, inherent only to art; in a more particular case, an element, part of a work of art, a way of being and reproducing a special, artistic reality.

Aesthetic judgments 8 is considered as a mental act that realizes the individual’s attitude to a specific aesthetic phenomenon (with varying degrees of complexity, depth - based on ideas, aesthetic experience).

Aesthetic assessment9 9 – a person’s purposeful attitude towards a certain phenomenon or image based on its comparison with aesthetic standards and ideals.

The highest criterion of aesthetic evaluation, which involves a comparison of phenomena, socially conditioned by the individual’s ideas about perfection, beauty, perceived as a goal, having an incentive nature, is e aesthetic ideal.

Aesthetic interest , 10 understood as the individual’s focus on aesthetic activity and characterized by breadth, depth, stability, and in preschool age its foundations are only laid.

aesthetic attitude to the world ,11 which in modern sources is considered as a meta-category of art pedagogy, a unique emotional and valuable spiritual phenomenon, a universal way of interaction that integrates and harmonizes the relationship of a person with the surrounding reality in order to create a holistic, personally significant aesthetic picture of the world (

Creation 12 as an active, creative process of human activity, aimed at understanding and transforming reality, creating new original, never before existing objects, works, etc., in order to improve the material and spiritual life of society.

« child's creative activity “- is an integrative personality quality, including a motivational, procedural, and effective component, manifested in different types of artistic activity (Zaplatina).

Capabilities 13. are understood as individual personality characteristics that ensure comparative ease and high quality of mastery of any activity (B. M. Teplov), inherent in everyone and amenable to development.

Synthesis of arts 11414 14 (transl. connection, combination) is understood as "an organic compound different arts or types of art into an artistic whole that aesthetically organizes the material and spiritual environment of human existence; the unity of artistic means and figurative elements in various arts" (Yu. P. Borev, M. S. Kagan, T. G. Penya, B. P. Yusov, R. M. Chumicheva).

• Draw a “tree of ideas” in the field of artistic and aesthetic development of children, indicating the time frame (stages or approximate years), main ideological guidelines (the problem of the relationship between “creativity and learning”, “development of abilities”, issues of introducing children to art, problems of museum pedagogy).

The relationship between social and biological factors in the artistic and aesthetic development of preschool children.

Is art accessible to preschoolers?: pros and cons.

Objectives of artistic and aesthetic development

Activation and development of emotional response on manifestations of beauty in the surrounding world, its depiction in works of art and one’s own creative works ( aesthetic emotions and feelings ) , development artistic and aesthetic perception.

Creating conditions for children’s mastery of the language of fine arts and artistic activities, And on this basis enrichment and initial generalization of ideas about art, aesthetic categories (at an accessible level).

Promoting the development and use of a variety of aesthetic assessments, judgments regarding the manifestations of beauty in the surrounding world, artistic images, one’s own creative works, the formation and manifestation in children interests, aesthetic preferences, desire to explore art And master visual arts by enriching the experience of visiting museums, exhibitions, collecting, creative leisure, handicrafts, project activities, on their basis the formation emotional, moral and aesthetic orientations, leading children to understand the value of art, artistic activity , and maintaining the manifestation of a value attitude towards national and world cultural heritage (at a feasible level).

Stimulating self-expression aestheticrelationship to the outside worldin a variety of situations (everyday and educational situations, leisure activities, during visits to museums, parks, city excursions) and in relation to various objects (works of art, natural objects, household items, toys, social phenomena).

5. Development visual arts .

Modern technologies for artistic and aesthetic development and education of children are being designed on the nextprinciples, which clearly reflect methodological guidelines: the principle of an integrated approach to aesthetic and holistic development, the connection between art and science, the continuity of progressive elements of culture (forming an understanding of the connections between the development of traditions), a polyartistic and integrative approach, taking into account geographical, historical, cultural factors, aestheticization of the entire life of children , unity of education and independent artistic creativity of children (the relationship between “learning” (mastering methods of activity) and independent search and initiative of children), disclosure of the child’s personality in various forms and types of children’s activities (B. P. Yusov). There are also principles - “methodological recommendations”: “pedagogical dramaturgy” (creating situations of assimilation), integrity and slowness of emotional mastery of the material (mastery through immersion), constancy of connection with life (involving personal experience, search activities, interactions with parents, introducing children’s created works in the space of a class or group), relying on the apogee of a phenomenon in art, the unity of form and content in the learning process, creating the need for the acquisition of knowledge and skills (B. M. Nemensky) 1.

1Nemensky B. M. Pedagogy of art. – M.: Education, 2007. – Pp. 195-202.

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Diagnostics of artistic and aesthetic development

Artistic and aesthetic development presupposes the development of prerequisites for the value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world; the formation of an aesthetic attitude towards the surrounding world; formation of elementary ideas about types of art; perception of music, fiction, folklore; stimulating empathy for characters in works of art; implementation of independent creative activities of children (visual, constructive-model, musical, etc.).

The “Concept of Preschool Education” notes that “art is a unique means of developing the most important aspects of mental life - the emotional sphere, imaginative thinking, artistic and creative abilities.”.

Artistic and aesthetic activities include:

Visual activities;

Musical perception;

Perception of fiction.

Goals and objectives in painting with paints:

Learning the ability to use paints correctly and carefully, dip the tip of a brush or finger into them; use a brush correctly: hold the brush; draw lines with light movements, draw dots, etc.; wash the brush and store it with the bristles facing up.

· Learning to navigate on a sheet of paper.

· Development of a sense of color.

· Development of emotions and imagination.

· Development of fine motor skills.

· Speech development.

Goals and objectives of pencil drawing

Learning how to hold a pencil correctly;

navigate on a sheet of paper, draw straight lines, circles, etc.

· Development of fine motor skills.

· Familiarization with the surrounding world.

· Speech development.

· Develop an interest in drawing.

The success of artistic and aesthetic activities is determined by the passion and ability of children to freely use acquired knowledge, skills and abilities in the process of activity itself and to find original solutions to assigned problems. Children constantly develop creative, flexible thinking, fantasy and imagination. Creative search in a specific type of activity leads to positive results.

The problem of assessing the level of artistic and aesthetic development of children is connected with the problem of choosing criteria for the quality of teaching and those methodological positions on which the teacher builds all his work. The development of artistic culture is the development of cognitive activity, artistic and visual abilities, artistic thinking, imagination, aesthetic sense, value criteria, as well as the acquisition of special knowledge and skills..

Every teacher strives to objectively assess the development artistic abilities child. But a number of questions arise: What qualities of artistic thinking can and should be assessed? How to evaluate imagination and fantasy? etc. It is very difficult to assess the development of an aesthetic sense and the ability to create. .

The artistic expressiveness of children's drawings is the subject of many studies. However, their results create more problems than they provide solutions. The indicators used to analyze figures often have too wide a spread and very little stability.

The value of the results of the analysis of children's drawings increases in the case
using the “competent judges” method (Level of knowledge
analyzing in the field of fine arts, his artistic taste and sympathies, knowledge of child and developmental psychology, pedagogy), but even in this case, the conclusions may not be accurate enough, since the answer to the question about the presence or absence of a particular quality in the drawing is the “judge” are given not on the basis of certain criteria, but by intuitive
conclusions.

The problem of correctly assessing the level of development of artistic and creative abilities worries every teacher, so we turn to the research of teachers in this area. This is Komarova T.S., Kazakova T.G., Lykova I.A., Vetlugina N.A., Shaidurova N.V.

Contradiction is that the living conditions of modern society are changing, and the person and his value orientations are changing. New approaches are required to solving the problem of artistic and aesthetic education of preschoolers through the means of art, including the art of painting..

Target : selection of effective methods and techniques for introducing older preschoolers to the art of painting for the development of artistic and aesthetic perception.

For comparison, we took two methods.

Diagnostic situation “What I love, that’s what I talk about”

The content of the assignment is determined based on research and methodological developments (N.M. Zubareva, T.G. Kazakova, T.S. Komarova, N.A. Kurochkina, N.P. Sakulina, A.M. Chernyshova)

Target – identification of features of the development of artistic and aesthetic perception in preschool children.

Diagnostic conditions . Conducted individually or with a subgroup of children (6-8 people). In this case, you can draw children’s attention to the need for an independent answer.

Stimulus materials : reproduction of a work familiar to children (for example, I. Levitan “ Golden autumn"), paper, pencils, markers.

Motive . The child (children) are invited (in continuation of the previous game-task “Interview with the artist”) to “go” into the halls of the “museum” and talk, “like real artists,” about the objects presented there.

Submitted tasks .

The child is offered:

Talk about the picture “whatever you want”, describe “what is depicted, what is felt, what is thought.”

After viewing the reproduction, answer the questions.

The protocol of the obtained survey data notes the features of the story, the perception of the work (understanding the artistic image, identifying and understanding the means of expression, establishing a connection between the created image and the means of expression, the manifestation of aesthetic empathy, creative manifestations in the process of perceiving the image).

The obtained data are summarized and promising lines of development for children are determined:

In activating manifestations of an aesthetic attitude towards the surrounding reality;

In enriching ideas about aesthetic categories;

In the development of aesthetic perception of various objects..

Creative task “Completing circles” (author T. S. Komarova)

The task of completing the drawing of six circles, which was diagnostic in nature, consisted of the following: children were given a landscape sheet of paper with circles of the same size drawn on it in 2 rows (3 circles in each row) (diameter 4.5 cm). The children were asked to look at the drawn circles, think about what kind of objects they could be, complete the drawing and color them to make it look beautiful. The diagnostic task should stimulate the creative abilities of children and give them the opportunity to comprehend, modify and transform existing experience.

The completion of this diagnostic task is assessed as follows: according to the “productivity” criterion, the number of circles formed by the child into images constitutes the assigned score. So, if all 6 circles were formed into images, then a score of 6 was given, if there were 5 circles, then a score of 5 was given, etc. All points received by children are summed up. The total number of points allows you to determine the percentage of productivity of the task performed by the group as a whole.

The results of children completing the task according to the “originality” criterion are assessed using a 3-point system. Score 3 - high level - given to those children who endowed the object with original figurative content, mainly without repeating one (apple (yellow, red, green), faces of animals (hare, bear, etc.)) or a similar image Score 2 - average level - assigned to those children who endowed all or almost all circles with figurative meaning, but allowed almost literal repetition (for example, a muzzle) or decorated the circles with very simple objects that are often found in life (ball, ball, apple, etc. ). Score 1 - low score - given to those who were unable to provide all the circles with an imaginative solution, the task was not completed completely and carelessly.

They evaluate not only the originality of the figurative solution, but also the qualityexecution of the drawing (variety color range, thoroughness in the execution of the image: characteristic details were drawn or the child limited himself to only conveying the general form, as well as the technique of drawing and painting).

Despite its apparent simplicity, this technique is very indicative. Processing and analysis of the results obtained makes it possible to detect differences in the level of development of children's creativity. When counting the quantity original images for the group, not only the individuality of the figurative solution is taken into account, but also the variability in the embodiment of images by different children. If testing was carried out individually, then the possibility of copying is virtually eliminated, and each image created by a child can be considered original (although it is repeated in the drawings of other children). .

The results of the task are assessed in two directions:

1) individually for each child (highlighting the originality of the images created by the children);

2) for the group as a whole (showing the total number of points)

Analysis of children's performance of a task allows us to obtain ideas about the transfer of a number of properties of objects: shape, color; understanding the figurative side of reality, etc.

The use of colors and its diversity are largely determined by the level of general development of the child and his personal mental characteristics, for example, the use of color in a drawing may be limited to one or two colors, which is not justified by the choice of depicted objects

Different levels of development of mental operations: analysis, identification of general and characteristic, comparison, likening, synthesis, generalization, that is, operations that contribute to the development of cognitive structures determined by psychologists when assessing the intellectual development of children, is expressed in the following: - in the ability to see in a standard situation non-standard solution, image (this isone of the indicators of creativity), for example, combining 2-3 circles into a single object (glasses, traffic light, tank, etc.) or an image unusual for a given age period: a bucket, a cobweb, a globe;

-- in the ability to activate image-representations existing in experience by correlating them with the task at hand;

-- in the readiness to see the general in the particular and the particular in the general (the commonality of the shape of various objects and the characteristic features of each of these objects; color, details that complement the basic form and allow one to distinguish the general from the particular);

Children’s performance of a diagnostic task and analysis of the results allows

assess the level of educational work in the group. In the same institution in groups of the same age composition there may bedifferent results were obtained, and they were higher in the groupWhere higher leveleducational work with children.

For the purpose of a deeper analysis of the results obtained from performing a diagnostic task, you can introduce additional criteria and complicate the mathematical processing of the already selected criteria.

The criterion of “image development” of an image includes the transmission of the characteristics of an object (object) in the image, and shading of the image. The highest score for this criterion is determined to be 3 points.

3 balla-drawing, in which more than three characteristic features of objects were conveyed and the image was beautifully painted over.

2 score - an image in which 2-3 characteristics were conveyed and carefully painted over.

1 point - completion of drawing with the transfer of 1 attribute (or careful painting of images).

Note. 1 point was added to the total score in the case of transferring features that most clearly characterize the created image.

A comparative analysis of two methods for diagnosing the level of artistic and aesthetic development gives us the opportunity to assert that S. T. Komarov’s diagnosis “Completing the drawing of figures” provides a more detailed interpretation. This diagnosis can be carried out either individually or in a group. Its structure is simple, but at the same time it takes a deeper look at the level of development of children’s creativity, and more as an assessment criterion.

Literature.

Bochkareva, I.L. Fine art as a means of artistic education of the individual. The problem of man in the light of modern social and philosophical sciences (Issue 3) [Electronic resource] – Access mode:

Dreznina M.G., Kurevina O.A. Towards each other. A program of joint artistic and creative activities for teachers, parents and children of senior preschool and primary school age. M., 2007

Law on Education in Russian Federation.

Zatsepina, M.B. Leisure culture in the family [Electronic resource] – Access mode:

Kozlova S., Kulikova T. Preschool pedagogy. - M. - Academy, 2001.

Concepts of long-term socio-economic development of the Russian Federation for the period until 2020 [Electronic resource] – Access mode:

Preschool education concept.

Mezhieva M.V. Development of creative abilities in children 5-9 years old / Artist A.A. Selivanov. Yaroslavl: Development Academy: Academy Holding: 2002. 128 p.

Federal State Educational Standard. – M. - Center for Teacher Education 2014.

Shakurova, M.V. Sociocultural space as a condition for the formation of a person’s sociocultural identity [Electronic resource] – Access mode:

10.

11.

MBDOU d/s No. 72, Ulyanovsk

Zagumennova Oksana Leonidovna

teacher

Methodological development

“Introducing young children to artistic and aesthetic development”

Introduction………………………………………………………………………………3

ChapterI Theoretical foundations for introducing young children to artistic and aesthetic activities

1. Psychological and pedagogical foundations of artistic and aesthetic development of preschool children………………………………………………………………………………….5
2. Methods of artistic and aesthetic development of preschool children…………………………………………………………………………………9
3. Visual activity as a means of aesthetic

education……………………………………………………………………………….12

1.4 Objectives and methods of developing artistic and aesthetic skills in young children in the process of drawing………………………………………………………16

ChapterII Experimental work on introducing young children to artistic and aesthetic development

2.1. Analysis of the level of artistic and aesthetic development of young children………………………………………………………………………………….28

2.2. System of work to introduce young children to artistic and aesthetic development……………………………………………………………….31

2.3. Analysis of the effectiveness of the work performed……………………………35

Conclusion………………………………………………………………………….36

Bibliography………………………………………………………………...37

Application…………………………………………………………………………40

Introduction

Formation of a creative personality is one of the most important tasks pedagogical theory and practices at the present stage. The man of the future must be a creator, with a developed sense of beauty and active creativity. That is why many kindergartens pay great attention to the artistic and aesthetic development of their students.

In our time, the problem of artistic and aesthetic education, personal development, the formation of its aesthetic culture is one of the most important tasks facing education in general and preschool education in particular.

Pedagogy defines the artistic and aesthetic education of preschool children as a purposeful process of forming a creatively active personality of a child, capable of perceiving and appreciating the beauty in life and art.

Thus, artistic and aesthetic education is the formation in a person of an artistic and aesthetic attitude to reality and its activation to creative activity according to the laws of beauty.

Artistic and aesthetic education has an active and creative orientation, which should not be limited only to a contemplative task, it should form the ability to create beauty in art and life. Therefore, the use of various types of children’s activities in the process of their artistic and aesthetic development is the main component of the pedagogical process in this direction.

An analysis of practice shows that insufficient attention is paid to the artistic and aesthetic development of young children. Many teachers believe that children of this age are not yet able to see and notice the aesthetics of the world around them, or master the skills of visual arts. Therefore, the study and search for psychological and pedagogical conditions and approaches to the artistic and aesthetic development of young children is an urgent problem in preschool pedagogy.

Purpose of the study- determine the psychological and pedagogical conditions for the artistic and aesthetic development of young children.

Object of study- the process of artistic and aesthetic development of children.

Subject of study- the use of visual activities in the process of artistic and aesthetic development of young children.

Research hypothesis is the assumption that the process of artistic and aesthetic development of young children will occur more effectively when the following psychological and pedagogical conditions are met:

Using drawing as one of the main types of visual activity that children of this age can master;

Application of methods for the development of visual skills appropriate to the age capabilities of children;

Creation of a special subject-development environment.

Research objectives:

1. Analyze the psychological and pedagogical literature on the research problem;

2. Determine the level of artistic and aesthetic development of young children;

3.Develop and test a cycle of work on the artistic and aesthetic development of young children;

4.Analyze the effectiveness of the work performed.

Research methods: literature study, documentation study, observation, conversation, study and synthesis teaching experience, pedagogical experiment, quantitative and qualitative analysis of results.

CHAPTER 1. Theoretical foundations for introducing young children to artistic and aesthetic development

1.1. Psychological and pedagogical foundations of artistic and aesthetic development of preschool children

The aesthetic properties of a person are not innate, but begin to develop from a very early age in the conditions of a social environment and active pedagogical guidance. Therefore, the aesthetic development of children is one of the central tasks preschool education.

In the psychological and pedagogical literature there are many different approaches to the definitions of the concept of “aesthetic education”.

In pedagogical research, the concept of aesthetic education is implemented from different positions. The first position is occupied by authors who put a personal aspect into the content of the concept of “aesthetic education,” reflecting the focus of this process on the development of personal qualities (V.N. Shatskaya, N.V. Savin, etc.).

So, V.N. Shatskaya and N.V. Savin gave the following definition of aesthetic education - cultivating the ability to purposefully perceive, feel and correctly understand beauty in the surrounding reality, in public life, work, and in artistic phenomena.

The second position is occupied by scientists who consider this process from the standpoint of not only personal, but also activity approaches, that is, they reflect its focus on the development of aesthetic activity (N.I. Boldyrev, A.I. Burov, D.B. Likhachev, etc.) .

An interesting approach to the definition of the concept being studied is N.I. Boldyrev, who sees in it the formation in a person of an aesthetic attitude to reality and the activation of his aesthetic activity. A.I. adheres to the same position. Burov and D.B. Likhachev, strengthening the pedagogical orientation of this process, and characterizing it as a purposeful, organized and controlled pedagogical process of formation in an individual of an aesthetic attitude to reality and aesthetic activity.

Finally, the third position is occupied by researchers who, in the content of the concept of “aesthetic education”, in addition to the personal and activity aspects, highlight the third - creative, that is, they define this concept as a process aimed at developing not only the elements of aesthetic consciousness (aesthetic qualities of the individual), but and creative aesthetic activity. This group of authors approaches the definition of the concept of aesthetic education from the standpoint of a holistic approach (G.S. Labkovskaya, G.M. Kodzhaspirova, D.B. Likhachev, etc.). So, G.M. Kodzhaspirova and A.Yu. Kojaspirs consider aesthetic education as a purposeful interaction between educators and students, promoting the development and improvement in a growing person of the ability to perceive, correctly understand, appreciate and create beauty in life and art, to actively participate in creativity, creation according to the laws of beauty.

Actively engaged in developing the problem of aesthetic education, G.S. Labkovskaya came to the conclusion that it should imply a purposeful system of effective formation of a person capable of perceiving and appreciating the beautiful, perfect, harmonious in life and art from a social and aesthetic ideal, capable of living and creating “according to the laws of beauty.”

Based on the definition of aesthetic education given by K. Marx, D.B. Likhachev reveals it as a purposeful process of forming a creatively active personality of a child, capable of perceiving and appreciating the beautiful, tragic, comic, and ugly in life and art, living and creating according to the laws of beauty.

There are many definitions of the concept of “aesthetic education”, but having considered only a few of them, it is already possible to identify the main provisions that speak about its essence. Firstly, this is a process of targeted influence. Secondly, it is the formation of the ability to perceive and see beauty in art and life, and appreciate it. Thirdly, the task of aesthetic education is to form the aesthetic tastes and ideals of the individual. And finally, fourthly, the development of the ability for independent creativity and the creation of beauty.

Some researchers (M.S. Kagan and others) understand aesthetic education as the process of developing an individual’s aesthetic culture. At the same time, the scientist draws attention to the connection between aesthetic education and other areas of education (political, labor, moral, physical, artistic). Another point of view is represented by the position of A.L. Radugin, A.A. Belyaev and others, who interpret this phenomenon as the purposeful formation in a person of his aesthetic attitude to reality.

Analysis of philosophical and pedagogical approaches to the definition of the concept of “aesthetic education” allowed us to highlight a number of important provisions for us: 1) aesthetic education is carried out using such means as art, nature, relationships, etc.; 2) this process is aimed at the formation of an aesthetic culture, the structural components of which are aesthetic activity and aesthetic consciousness; 3) aesthetic education occurs throughout a person’s life.

Next, let's consider the phenomenon we are studying in a psychological context. In this connection, let us turn to the analysis of the approaches of psychologists to the definition of the concept of “aesthetic education” (N.Z. Bogozov, I.G. Gozman, K.K. Platonov, V.G. Krysko, etc.).

N.Z. Bogozov, I.G. Gozman, G.V. Sakharov et al. reveal the content of the concept of “aesthetic education” by highlighting a number of characteristics that are one way or another characteristic of this process. In particular, aesthetic education is understood as “the education of aesthetic feelings, an aesthetic attitude to reality, the means of which are drawing, singing, music, etc.”

For a number of psychologists, aesthetic education is a process aimed at: 1) the formation of aesthetic taste and aesthetic attitude to reality not only of individuals, but through them, of groups (K.K. Platonov); 2) the formation of a creatively active personality, capable of perceiving, feeling, appreciating the beautiful, tragic, comic, ugly in life and in art, living and creating “according to the laws of beauty” (V.G. Krysko).

Based on the analysis of philosophical, psychological and pedagogical definitions of the concept under study, we consider aesthetic education as an integral pedagogical process based on specially organized activities and aimed at the development of aesthetic culture and creative activity of the individual.

In our time, the problem of aesthetic education, personality development, and the formation of its aesthetic culture is one of the most important tasks. This problem has been developed quite fully in the works of domestic and foreign teachers and psychologists. Among them A.V. Lunacharsky, A.S. Makarenko, D.B. Kabalevsky, V.A. Sukhomlinsky, B.M. Nemensky, B.T. Likhachev, N.I. Kiyashchenko, V.N. Shatskaya, L.P. Pechko, M.M. Rukavitsyn and others. In the field of preschool pedagogy, the works of E.A. Flerina, N.A. Vetlugina, T.S. Komarova, G.G. Grigorieva, T.G. Kazakova, T.A. are devoted to the problems of aesthetic and artistic education. Kotlyakova and many others.

Thus, the entire system of aesthetic education is aimed at the overall development of the child, both aesthetically and spiritually, morally and intellectually.

1.2. Methods of artistic and aesthetic development of preschool children

Artistic and aesthetic development is the most important aspect of organizing the process of raising a child. Aesthetic education – This is the organization of the life and activities of children, contributing to the development of the child’s aesthetic feelings, the formation of ideas and knowledge about the beauty in life and art, aesthetic assessments and an aesthetic attitude towards everything that surrounds us.

The result of artistic and aesthetic education is aesthetic development. For the aesthetic development of a child’s personality, various types of artistic activities are of great importance - visual, musical, artistic speech, gaming, etc.

A component of the process of aesthetic development is art education - the process of assimilation of art knowledge, abilities, skills, development of the ability for artistic creativity.

The tasks of artistic and aesthetic education of preschool children, based on its goals, can be presented in two groups.

First group of tasks is aimed at developing children’s aesthetic attitude towards their surroundings.

The following is provided: to develop the ability to see and feel beauty in nature, actions, art, to understand beauty; cultivate artistic taste, the need for knowledge of beauty.

Second group of tasks is aimed at developing artistic skills in the field of various arts: teaching children drawing, modeling, designing; singing, moving to music; development of verbal creativity.

The named groups of tasks will give a positive result only if they are closely interconnected in the implementation process.

There is a huge variety of artistic and aesthetic methods for preschoolers.

Thus, V. I. Loginova, P. G. Samorukova developed the following classification methods of aesthetic education:

Methods and techniques for the formation of elements of aesthetic consciousness: aesthetic perception, assessments, taste, feelings, interests, etc. When using this group of methods, the teacher influences the emotions and feelings of children using visual, verbal, practical and playful teaching methods and techniques, depending on what aesthetic phenomenon children are introduced to;

Methods aimed at introducing children to aesthetic and artistic activities. This group of methods and techniques includes showing a method of action or example, exercises, showing a method of sensory examination accompanied by an explanatory word;

Methods and techniques aimed at developing aesthetic and artistic abilities, creative abilities and skills, and methods of independent action in children. These methods involve the creation of search situations, a differentiated approach to each child, taking into account his individual characteristics.

N.A. Vetlugina defined the following classification of methods:

Depending on the source of knowledge (visual, verbal, practical, game);

Depending on the type of artistic and creative activity and educational tasks;

Depending on the tasks of developing artistic and creative abilities;

Depending on the age characteristics of the children;

Depending on the individual characteristics of the children;

Depending on the stages of artistic pursuits.

G.G. Grigorieva believes that the choice of certain methods and techniques depends on:

On the age of children and their development;

Depending on the type of visual materials that children work with.

The system of pedagogical interaction between teachers and children, aimed at the artistic and aesthetic development of preschool children, is being built in preschool educational institutions in three directions:

· specially organized training;

· joint activities of teachers and children;

· independent activities of children.

The interaction between teachers and children is carried out taking into account a differentiated approach and includes various forms of work: group and subgroup classes, holidays, entertainment, themed musical evenings, creativity weeks, didactic games, exhibitions of drawings and crafts, the creation of homemade books, club and studio work; free artistic activity; organization of performances, entertainment, competitions, exhibitions, festivals, holidays; museum pedagogy; aesthetic design of interiors; participation in city events. etc.

Thus, a properly organized system of work on the artistic and aesthetic education of children - creating conditions for aesthetic education, organizing the educational process - will create favorable conditions for the development of children’s artistic and aesthetic abilities, creative imagination and, as a result of artistic and aesthetic education, - spiritually rich, comprehensively developed personality.

1.3 Visual activity as a means of aesthetic education

Visual activity is the most important means of artistic and aesthetic education. This was emphasized by many artists, art critics, teachers, psychologists, and scientists. This was also noted by the ancient Greeks; works of art, which still surprise and delight the world with their beauty and perfection, have served the aesthetic education of man for many centuries.

In the formation of a child’s personality, in his aesthetic development, various types of artistic and creative activities are of invaluable importance: drawing, modeling, cutting out figures from paper and gluing them, creating various designs from natural materials etc.

The visual activity of preschoolers as a type of artistic activity should be emotional and creative in nature. The teacher must create all the conditions for this: he, first of all, must provide an emotional, imaginative perception of reality, form aesthetic feelings and ideas, develop imaginative thinking and imagination, teach children how to create images, the means of expressive execution.

The learning process should be aimed at developing children's visual creativity, at creatively reflecting impressions from the surrounding world, works of literature and art.

Drawing, modeling, applique are types of visual activities, the main purpose of which is a figurative reflection of reality.

Visual arts are one of the most interesting activities for preschool children. Visual activity is a specific figurative cognition of reality.

One of the main types of visual activity that children begin to master at an early age is drawing.

Children's drawing is a phenomenon of creative activity of children aged 1-2 to 10-11 years, which has a motor-visual basis and implements many mental functions that are important for the holistic personal development of the child. It is therefore necessary when examining and evaluating children's drawings:

Discuss with the child the drawing, and not him, his personality (for example: capable, incapable, slob, neat, stupid, weak, average, brilliant child, etc.);

It is necessary to evaluate the child’s achievements in relation to his personal capabilities and in comparison with his own drawings, taking into account individual characteristics and the dynamics of his development (whether the child is moving in his creativity or has stopped, repeating what he has mastered, reproducing himself), and not in comparison with other children;

It is necessary to accurately determine the goal, the essence of the task, the conditions for creating the drawing and, in accordance with these circumstances, evaluate the work (the theme for the exhibition was set, prompted from the outside or caused by one’s own motives, whether it found an echo in the child’s soul or was performed under duress; whether the child used auxiliary visual material or worked from memory, from imagination; was there a sufficient choice of visual means, etc.);

Identify and evaluate: its general mood, plot, semantic and emotional interpretation, compositional solution (choice of the size of the picture, arrangement of the image in the format, expression of the degree of subordination of individual figures - direction, scale relationships, configuration of forms, rhythmic and coloristic solution), freedom of use of visual arts tongue;

To support and legitimately encourage the independence of drawing, the activity of the author’s position in relation to what is depicted, the sincerity of emotional experiences in creativity, sensitivity to the nature of visual materials and the capabilities of tools, ingenuity in searching for depiction techniques and ways of expressing images and moods, work to improve one’s visual language;

It is important to determine and take into account the extent of other people’s influence on the drawing, which reduces the level of creative search; it must be remembered that such types of drawing as copying from a sample, tracing from the original, painting over ready-made outline pictures do not contribute to the creativity and artistic development of the child, but lead to the mechanical reproduction of other people’s decisions, serve to spread children's drawing faceless templates and stereotypes;

In the assessment itself, kind attention should be shown, a desire to see deeply and fully the entire content of the drawing; it must be thoroughly reasoned and have a positive character, so that even when identifying shortcomings, it opens the child up to the opportunity to overcome them, while excluding direct prompting in doing so; the assessment can also express parting words for further creativity and the formulation of new tasks - then it will be interesting, useful, desirable and accepted with confidence.

In pedagogical practice, we must not forget that children create according to their own needs, and not “for show,” and it is incorrect to focus them only on the result, replacing search with a model, creativity with fulfillment, desire with coercion. In assessing work, the child’s sincere, original creativity should be encouraged, rather than obedient reproduction. Loving drawing and trusting adults, a child who draws may find himself a victim of someone else's will. This way the child’s creative rights are violated, his artistic activity is misdirected and damage is caused to his integrity. personal development. This must be understood and remembered by all adults who come into contact with children’s creativity.

The main stages of development of children's visual activity:

• the child’s pronounced interest in visual material and cognitive activities with it;
• the child’s interest in the actions of adults with the material, imitation of them, based on the need for communication;
• the child’s interest in the mark left on the sheet and the manifestation of an associative image;
• manifestation of first ideas;
• object-tool activity (search for the content of an image in scribbles). The child sets the goal himself, depicting the task;
• interest in drawing (middle preschool age), since the child can embody any content in a drawing. Visual actions become more accurate, confident, varied, and creative;
• high-quality drawings turn into plastic ones (senior preschool age)

A preschooler's drawings can be immediately recognized by their brightness, colorfulness, and decorativeness.

Children's drawings convince adults that the child is able to express his worldview in them, they evoke our emotional reactions and that is why they can be called expressive.

One of the most accessible means of expression for a child is color. It is characteristic that the use of paints in bright, pure tones, in varied combinations, is typical for preschoolers of all ages.

A preschooler can paint with all colors, imitating his neighbor at the table or drawing “by heart” an image he has found more than once.

The originality of the image, the product of children's activity, is an indicator of creative imagination. At the same time, it should be remembered that a child’s drawing, for all its merits, is not a work of art. He cannot surprise us with the depth of thought, the breadth of generalization, the absolute uniqueness of the form of embodiment of the image. The child in the drawing tells us about himself and what he sees. Children do not just transfer objects and phenomena of the surrounding world onto paper, but live in this world of beauty.

The teacher needs to remember that it is impossible to evaluate the expressiveness of the images created by a preschooler only on the basis of an analysis of the drawing itself. To correctly understand a child and his capabilities in visual arts, it is necessary to observe and analyze the process of creating an image, taking into account the personality characteristics of the little artist.

Along with the expressiveness and literacy of children's works, one should also highlight their quality, such as originality.

The originality and uniqueness of children's works is a relative quality. It can be combined with literacy and expressiveness, but it can also be the only characteristic of the image. That is, the drawing of a small child may be illiterate and expressive, but differ in its unique solution to the problem.

In drawing classes, children develop an interest in artistic and creative activities, a desire to create a beautiful image, it is more interesting to come up with it and execute it as best as possible. The perception and understanding of works of art accessible to children: graphics, painting, sculpture, architecture, works of folk decorative art - enrich their ideas and allow them to find a variety of expressive solutions.

1.4 Objectives and methods of developing artistic and aesthetic skills in young children in the process of drawing

The main goal of teaching visual arts is to develop children's creative abilities. One of the main tasks of teaching children is to develop the ability to correctly convey their impressions of the surrounding reality in the process of depicting specific objects and phenomena.

The visual abilities of young children to convey their surroundings are limited. Not everything that a child perceives can serve as a theme for his drawing. It is difficult for a child of this age to convey all the characteristic features of an object, since he does not have sufficiently developed visual skills. The method of depiction is of great importance in the truthful transmission of impressions. Children learn to convey the approximate shape of an object, the relationship of its parts, the location of objects in space, their color, etc.

Mastery visual techniques– the task is quite complex, requiring the development of thinking. In kindergarten, it is solved mainly in older groups.

The solution to this problem is related to the peculiarities of the aesthetic development of a preschooler. Children can perform the simplest rhythmic structures using bright, contrasting color combinations to create an expressive composition.

One of the most important tasks of teaching visual arts is mastering technical techniques for working with various materials. Fine skills consist of the ability to convey the shape of an object, its structure, color and other qualities, and to create a pattern taking into account the form being decorated.

Technical skills are closely related to visual skills. To depict any object, you must be able to freely and easily draw lines in any direction, and how to convey the shape of an object through these lines is already a pictorial task.

Acquiring technical skills only at the initial stage of training requires great concentration and active work of the child’s thoughts. Gradually, technical skills become automated, and the artist uses them without much effort. Technical skills include the proper use of materials and equipment. In drawing, basic technical skills include the ability to hold a pencil and brush correctly and use them freely.

The importance of technical skills is great, since their absence often leads to a decrease in children’s interest in visual arts and causes them dissatisfaction.

The acquired skills of correct and free use of the material should not be used mechanically, but taking into account the characteristics of the subject of the image.

Thus, the tasks of teaching visual arts are closely related to the specifics of this type of art and at the same time contribute to the implementation of educational tasks and the development of children’s artistic abilities.

Children's visual activity is based on knowledge of the surrounding reality, therefore the question of the development of perceptions is one of the main problems in the methodology of teaching children to draw. Creating an artistic image involves conveying deep content in a bright, emotional form.

With a child of the second year of life, special training in image skills is already possible, since he strives to reproduce the actions of the teacher, accompanied by an explanation. When setting tasks for teaching drawing, it is taken into account that two-year-old children have little experience, lack knowledge and skills, and have insufficiently developed hand movements. Therefore, the main tasks are primarily related to the general educational impact on children.

The learning objectives in the first junior group are as follows:

Arouse interest in the process of drawing as an activity that produces results;

Introduce drawing materials (pencils, paints) and techniques for using them;

To teach an understanding of an adult’s drawing as an image of an object;

Teach techniques for drawing straight, rounded lines and closed shapes.

Mastering visual skills begins with drawing straight, vertical and horizontal lines, first when completing the drawing started by the teacher (strings for balls, stems for flowers, a ball of thread, etc.).

Narrative drawing is the main goal of teaching a child to convey his impressions of the surrounding reality.

The child must be able to draw the main thing in the plot, and he completes all the details according to his wishes.

A small child still has too superficial perception and analytical-synthetic thinking: he first of all perceives what is directly accessible to sight, touch, hearing, and often recognizes an object by some unimportant details that he remembers. In exactly the same way, a child perceives and conveys the plot in a drawing. The child has little experience and underdeveloped visual skills in depicting a plot drawing.

In the younger group, some of the topics proposed for drawing sound complex (for example: “Kolobok is rolling along the path,” “ Snowing, covered the whole ground”, “Leaf Fall”, “Bird Yard”, etc.). But they do not require the transfer of plot action. Pointing out the plot of the drawing is used to create interest in children in depicting the simplest forms.

In plot drawing, young children are not tasked with showing exactly proportional relationships between objects, since it is complex and accessible only to children of the older group.

The teacher should try to choose interesting topics for the children, taking into account their impressions of the surrounding reality.

The first stage in the development of children's artistic abilities begins from the moment when visual materials - paper, pencil, paints, crayons - first fall into the child's hand. In the future, as children gain experience and master fine arts skills, new tasks can be set for them.

At 2-3 years old, a child easily masters the skill of holding and using a pencil, brush, and crayons correctly.

Bright and colorful images evoke strong positive emotions in children. The child enjoys any color of pencil or paint, covering everything with them. But even at an early and younger age, he can already associate color with the image of an object. The use of color helps to express the child’s emotional attitude towards what is being depicted.

Thus, the means of expression used by children are quite diverse: color, shape, composition. In children, the desire to draw is short-term and unstable. Therefore, the teacher must properly manage the process of creative activity.

The preschooler’s experience is still small, so it is important to give him the opportunity to first observe the object in order to see and remember the main, characteristic, expressive things. It is the inability to see that explains many errors in children's drawings.

In kindergarten, visual arts classes use a variety of methods and techniques, which can be divided into visual and verbal. A special group of techniques specific to kindergarten consists of gaming techniques. They combine the use of visuals and the use of words.

The teaching method, according to the definition accepted in pedagogy, is characterized by a unified approach to solving a given task and determines the nature of all activities of both the child and the teacher in a given lesson.

A teaching method is a more private, auxiliary means that does not determine all the specifics of activity in a lesson, but has only a narrow educational significance.

Sometimes individual methods can act as only a technique and not determine the direction of work in the lesson as a whole. For example, if reading a poem (story) at the beginning of a lesson is precisely the goal of simply arousing interest in the task and attracting the attention of children, then in this case reading served as a technique to help the teacher in solving a narrow task - organizing the beginning of the lesson.

Visual methods and techniques – visual methods and techniques of teaching include the use of nature, reproductions of paintings, samples and other visual aids; examination of individual objects; demonstration by the teacher of image techniques; display of children's work at the end of the lesson, during their assessment.

The kindergarten program establishes the scope of visual skills that children must master in the learning process. Mastering a relatively small range of skills will enable the child to depict a wide variety of objects. For example, in order to draw a house, you need to know the techniques of depicting a rectangular shape, that is, be able to connect lines at right angles.

The same techniques will be needed to draw a car, a train, or any other object that has a rectangular outline.

The teacher's demonstration of image methods is a visually effective technique that teaches children to consciously create the desired form based on their specific experience. Display can be of two types:

Showing with a gesture;

Demonstration of image techniques.

In all cases, the demonstration is accompanied by verbal explanations.

The gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick on a sheet of paper is often enough for children even 2-3 years old to understand the tasks of the image. A gesture can restore in the child’s memory the basic shape of an object, if it is simple, or its individual parts.

It is effective to repeat the movement that the teacher accompanied when perceiving his explanation. Such repetition facilitates the reproduction of connections formed in consciousness. For example, when observing children during the construction of a house, the teacher gestures to show the contours of the buildings under construction, emphasizing their upward aspirations. He repeats the same movement at the beginning of the lesson, in which the children draw a high-rise building.

A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the hand of the drawer during the image. The smaller the child, the more important the demonstration of hand movements is in his learning.

A child of early and early preschool age does not yet fully control his movements and therefore does not know what movement will be required to depict a particular form.

There is also a well-known technique when a teacher in a younger group makes images together with the child, leading his hand.

With a gesture you can outline the entire object if its shape is located (ball, book, apple) or details of the shape (the arrangement of branches in a spruce tree, the bend of the neck in birds). The teacher demonstrates smaller details in the drawing.

The nature of the demonstration depends on the tasks that the teacher sets in this lesson. Showing an image of the entire object is given if the task is to teach how to correctly depict the basic shape of the object. Typically this technique is used in the younger group. For example, to teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.

During repeated exercises to consolidate skills and then use them independently, the demonstration is given only on an individual basis to those who have not mastered a particular skill.

Constantly demonstrating how to complete a task will teach children to wait for instructions and help from the teacher in all cases, which leads to passivity and inhibition of thought processes. A teacher's demonstration is always necessary when explaining new techniques.

At an early age, a child cannot fully control and evaluate his actions and their results. If the work process gave him pleasure, he will be pleased with the result, expecting approval from the teacher.

In the younger group, at the end of the lesson, the teacher shows several well-done works without analyzing them.

The purpose of the show is to attract children's attention to the results of their activities. The teacher also approves the work of the other children. A positive assessment of them helps to maintain interest in visual arts.

Errors in the work of one child should not be considered with all children, since their awareness will only matter to this child. The causes of the error and ways to eliminate it are best analyzed in an individual conversation.

Verbal methods and teaching techniques - these include conversation, instructions from the teacher at the beginning and during the lesson, and the use of verbal artistic images.

The purpose of the conversation is to evoke previously perceived images in the children’s memory and arouse interest in the activity. The role of conversation is especially great in those classes where children will do work based on a presentation (according to their own ideas or on a topic given by the teacher), without using visual aids.

The conversation should be short, but meaningful and emotional. The teacher mainly pays attention to what will be important for further work, i.e. on the constructive color and compositional solution of the drawing. If the children’s impressions were rich and they have the necessary skills to convey them, such a conversation is enough to complete the task without additional techniques.

To clarify children’s ideas on a topic or familiarize them with new techniques for depicting the teacher, during a conversation or after it, shows the desired object or picture, and before the children begin performing the task, demonstrates the method of work. In younger groups, conversation is used in cases where it is necessary to remind children of the subject that they will depict or to explain new techniques of work. In these cases, conversation is used as a technique to help children better understand the purpose and purpose of the image.

The conversation, both as a method and as a technique, should be brief and last no more than 3-5 minutes, so that the children’s ideas and emotions are revived, and the creative mood does not fade away. Thus, a properly organized conversation will contribute to better performance of the task by children. An artistic image embodied in a word (poem, story, riddles, etc.) has a unique clarity. It contains that characteristic, typical thing that is peculiar to this phenomenon and distinguishes it from others.

Expressive reading of works of art contributes to the creation of a creative mood, active work of thought and imagination. For this purpose, the artistic word can be used not only in classes on illustrating works of literature, but also when depicting objects after their perception.

When teaching children of primary preschool age, verbal instructions are rarely used. Children still have too little experience and do not have enough visual skills to understand the teacher’s explanation without the participation of sensory analyzers. Only if the children have firmly established skills, the teacher may not accompany the visual demonstration of the action.

Indecisive, shy children, unsure of their abilities, need guidance. They need to be convinced that the work will certainly work out. However, difficulties facing children should not always be prevented. To foster creative activity, it is important that the child encounters difficulties and learns to overcome them.

The form of instructions cannot be the same for all children. For some, an encouraging tone is needed that arouses interest in the work and confidence in their abilities. Self-confident children should be more demanding.

The teacher's instructions should not be a direct dictation to children on how to depict an object in a particular case. They must make the child think, think. Individual instructions should not attract the attention of all children, so they should be given in a quiet voice. Instructions are given to all children during the lesson if many make mistakes.

Game teaching techniques - the use of game moments in the process of visual activity - refers to visually effective teaching techniques. The smaller the child, the more place play should occupy in his upbringing and education. Game teaching techniques will help attract children's attention to a gradual task, facilitating the work of thinking and imagination.

Learning to draw at a young age begins with play exercises. Their goal is to make the process of teaching children to create simple linear shapes and the development of hand movements more effective. Children, following the teacher, first draw various lines in the air with their hand, then with their finger on the paper, supplementing the movements with an explanation: “This is a boy running along the path,” “This is how a grandmother shakes a ball,” etc. The combination of image and movement in a gaming situation significantly accelerates the acquisition of the ability to depict lines and simple forms.

Inclusion game moments Visual activity in the younger group continues when depicting objects. For example, he comes to visit children new doll and they draw her a dress, vitamins, etc. In the process of this work, kids master the ability to draw circles.

When using game moments, the teacher should not turn the entire learning process into a game, as it can distract children from completing the educational task and disrupt the system in acquiring knowledge, skills and abilities.

Separate methods and techniques - visual and verbal - are combined and accompany one another in a single learning process in the classroom.

Visualization renews the material and sensory basis of children's visual activity; the word helps create a correct representation, analysis and generalization of what is perceived and depicted.

The main principle of teaching children to draw is clarity: the child must know, see, feel the object or phenomenon that he is going to depict. Children should have clear, precise ideas about objects and phenomena. There are many visual aids used in drawing classes. All of them are accompanied by verbal explanations.

First of all, the teacher’s activity itself is a visual basis. The child follows the teacher’s drawing and begins to tease him. In preschool age, imitation plays an active teaching role. A child who watches how a drawing is created also develops the ability to see the features of shape and color in their planar image. But imitation alone is not enough to develop the ability to think independently, depict, and freely use acquired skills. Therefore, the methods of teaching children are also consistently becoming more complex.

In the work of V.N. Avanesova recommends the gradual involvement of children in the joint process of drawing with the teacher, when the child completes the work he has started or does - draws strings to drawn balls, stems to flowers, sticks to flags, etc.

The positive thing about this technique is that the child learns to recognize the object being depicted, analyze already drawn and missing parts, practices drawing lines (of various types) and, finally, receives joy and emotional pleasure from the result of his work.

The teacher can use demonstrations of drawing techniques and verbal explanations, and the children will complete the task themselves without a reference drawing. It is important here that the process of constructing a drawing by the teacher’s hand is well coordinated with the course of verbal presentation. The word, supported by visual material, will help the child analyze what he saw, comprehend it, and better remember the task. But the child of the younger group has not yet developed enough the ability of memory to retain for a long time what was perceived with sufficient clarity (in this case, this is the teacher’s explanation): he either remembers only part of the instructions and performs the task incorrectly, or he cannot start anything without a repeated explanation. That is why the teacher must once again explain the task to each child.

Thus, we agree with G.G. Grigorieva, who believes that one of the most important tasks in teaching visual arts is mastering technical techniques for working with various materials. Fine skills consist of the ability to convey the shape of an object, its structure, color and other qualities, and to create a pattern taking into account the form being decorated.

There are many methods and techniques for teaching children to draw (conversation (verbal-visual technique), visual-figurative and play techniques), which must be taken into account in the process of targeted aesthetic and visual perception.

CHAPTER 2. Experimental work on introducing young children to artistic and aesthetic development

2.1. Analysis of the level of artistic and aesthetic development of young children

Experimental work was carried out on the basis of the Municipal preschool educational institution kindergarten No. 72 with 22 children of primary preschool age. During the work, they were divided into two groups: experimental and control (11 people in each). A list of children participating in the study is given in the Appendix.

The experimental work program included three main stages:

Stage I - ascertaining experiment;

Stage II - formative experiment;

Stage III - control experiment.

In our experimental study, due to time limitations, work with children did not cover all areas of artistic and aesthetic development at an early age. The content of our work was the formation and development of one type of visual activity - drawing. This is due to the fact that it is in this type of visual activity that young children show the greatest interest, and already at this age they make their first attempts to draw.

The purpose of the first stage was to determine the level of artistic and aesthetic development of the children tested.

To carry out the ascertaining stage of the experiment, the technique developed by T.G. was used. Kazakova.

Progress of the experiment:

We invite the children to name the objects that they take out of the bag. Also name the size of the object, shape.

Then we suggest drawing objects on a piece of paper. To do this, we lay out isomaterials in front of the children: brushes, pencils, crayons, foam rubber pokes.

Paints and brushes were placed in front of the children. The children were asked to draw on a free topic. The children had to name the color of the paint and use it correctly.

We have developed indicators of the level of knowledge and skills:

Knowledge indicators:

• Recognizing and naming an object
• Knowledge of the shape of an object
• Knowing the size of an object
• Recognition and naming of colors.

Skill indicators:

• Ability to hold a brush or pencil correctly
• Ability to put paint on a brush and wash it
• Mastery of drawing techniques
• Emotional response.

In accordance with the indicators, characteristics of the levels of artistic and aesthetic development were developed.

Low level– Emotionally responds to manifestations of the aesthetic, but only at the prompting of an adult. When an adult names images in drawings and toys, he recognizes them and rejoices. Tries to draw with the support and encouragement of an adult.

Average level– The child shows interest in the perception of objects and responds emotionally to beautiful things. Identifies individual characteristics of objects: bright colors, basic forms. Knows how to use some visual instruments with a little help from an adult. Masters form-building movements.

High level- The child shows an active interest in the perception of the aesthetic properties of objects and phenomena, a desire to examine them. There is an emotional response, an expression of pleasure, joy in facial expressions. The child recognizes and names objects, shape, size and color. Knows individual isomaterials, their properties, masters technical and shaping movements.

At the end of the experiment, we summed up the results of which are shown in the table.

Table 1

Results of the ascertaining experiment

Level	Experimental group		Control group
	Qty		Qty
high
average
short

summing up the results of the ascertaining stage of the experiment, we can conclude that in the experimental group with a high level of development of visual skills there is 1 person, which is 10%, with an average - 7 people, which is 70%, and with a low level - 3, which is 20 %. In the control group with a high level of development of visual skills there are no children, with an average level - 8 people, which is 75%, and with a low level - 3 people, which is 25%.

2.2. System of work to introduce young children to artistic and aesthetic development

The purpose of the formative experiment is to create a cycle of systematic work aimed at introducing young children to artistic and aesthetic development. The work was carried out with an experimental group.

In our work, we used the following drawing methods in accordance with the age capabilities of the children:

Drawing in the air - drawing lines and figures in the air using movements of the straight index finger of the leading hand. Using this technique helps you feel the correct direction of movement and remember it at the motor level. You can also draw with your finger on any smooth surface (glass, table).

Joint drawing is the joint actions of an adult and a child in the process of drawing. The adult places a pencil in the child's hand, takes it in his own and moves it across the paper, creating an image and at the same time commenting on the drawing. Using this method allows you to teach your child how to hold a pencil correctly, press it with a certain amount of force while drawing, and draw various lines and shapes.

Adding details is the process of completing a drawing. As a basis for drawing, a blank is offered, on which only part of the drawing is drawn, the missing details of which the child must complete. The plot of the picture is played out and commented on by an adult. Using this teaching method allows you to consolidate the skills your child has learned (holding a pencil correctly, drawing certain lines and shapes). At the same time, the adult has the opportunity to plan the level of complexity of the drawing and the time to complete the task depending on the age of the children in the group and the level of their skills.

To carry out the work, a subject-development environment was created to help immerse the child in an aesthetic atmosphere and develop interest in artistic and aesthetic objects. The environment contained the following materials:

A variety of visual materials (paints, pencils, paper, cardboard, etc.);

Illustrations of paintings by artists;

Didactic material;

Toy library;

Book Corner;

A corner of nature.

The work was carried out according to the presented plan.

September	"Miracle Sticks" Goal: getting to know pencils	"Grass" Goal: to stimulate interest in drawing, teach how to draw lines	"Rain, rain, drip, drip, drip" Goal: learn to draw dashes	"Treat for the birds (chickens)" Goal: teach dipping techniques
	"Four Sisters" (red) Goal: consolidate the name	"Feet walk along the path" Goal: learn to draw a brushstroke	"Friends"	"Bubble" Goal: learn to draw rounded shapes
	"Leaf Fall" Goal: learn to draw a brushstroke	"Locomotive from Romashkov" Goal: learn to draw vertical lines (sleepers)	“Oh, roads!”	"Alenka in diapers" Goal: learn to draw a brushstroke
	"Decorate the hat"	"Four Sisters" (yellow) Goal: consolidate the name	"Comb for Masha the Confused" Goal: learn to draw vertical lines	“A snowball is falling on the edge of the meadow” Goal: to consolidate the ability to draw a brushstroke
	"The lights came on in the house" Goal: to consolidate the ability to draw a brushstroke	"Christmas tree" Goal: to consolidate the ability to draw strokes and vertical lines	"Snowman"	"Snow Bunny" Goal: to strengthen the ability to draw round shapes
	"Cheerful Clown" Purpose: to consolidate brushstroke drawing	"The Snow Maiden's Mitten" Goal: to consolidate the ability to draw a brushstroke	"Let's dry the sticks" Goal: learn to draw a square shape	"Four Sisters" (green color)
	“Multi-colored balls” or “Mischievous kitten” Goal: to strengthen the ability to draw round shapes	« Elegant dress» Purpose: to consolidate the drawing of strokes and horizontal lines	"Steamboats go to sea" Goal: learn to draw horizontal lines	"Let's decorate the umbrella" Goal: consolidate drawing about round shape(rings)
	"Four Sisters" (blue) Goal: consolidate the name of the color	"Hairstyle for Parsley" Goal: strengthen the ability to draw vertical lines	"The birds have arrived" Goal: to consolidate the ability to draw rounded shapes and vertical lines	« Beautiful vase» Goal: consolidate the skill draw horizontal and vertical lines
	"Lilac" Purpose: to consolidate the drawing technique - dabbing (smear)	"Dandelion" Goal: to consolidate the ability to draw vertical lines and round shapes	"Ladybug" Goal: to strengthen the ability to draw a round shape	“What the little engine from Romashkov met” Goal: consolidate the skill draw stroke, round shape, vertical lines

For example, in the educational event “Rain, Rain,” after observing the rainy weather outside the window with the children and giving a descriptive story about the natural phenomenon, we drew rain with our finger in the air and moved on to drawing on A4 paper, where a cloud and the earth had been drawn in advance. The children began to finish drawing vertical lines in the form of rain. In my time, I help the children start drawing, or continue it in the correct direction of the rain lines.

2.3. Analysis of the effectiveness of the work performed

The purpose of the final stage of the study was to analyze the effectiveness of the experimental work carried out by repeating diagnostics with children of the control and experimental subgroups.

Diagnostic tasks, indicators, criteria and characteristics of levels remained unchanged.

Based on the data from a survey of children in the 1st junior group, we can safely say that working under this program significantly improves performance both for each child and for the group as a whole.

Most children have a strong interest in drawing and use materials and tools correctly.

The low level at the beginning of the year is most often explained by insufficient mastery of technical skills and abilities, which manifested themselves only with the active encouragement of an adult.

Conclusion

Work in this area gives positive dynamics in the development of children's drawing skills, which allows them to develop color perception, the ability to see means of expression, brightness, elegance of color, and some of its shades. When drawing, children convey the resemblance to a real object and enrich the image with expressive details.

This is evidenced by the results of the diagnostics, which show positive dynamics.

Children, already in the first year of their acquaintance with drawing, learned to be creative in accordance with age requirements and skillfully use materials and tools.

Based on the results, it is clear that the chosen methods and techniques help solve the problems I set.

But in general, if the work is carried out systematically, in a system with other activities, in group and individual activities, in interaction with parents, then tasks such as:

• Disclosure of important aspects of child development in each age group;
• Providing qualified assistance to parents on issues of child upbringing and development;
• Increasing the self-esteem of parents in their own eyes and in the eyes of each other;

In conclusion, I would like to say the following: drawing for a child is a joyful, inspired work, which is very important to stimulate and support, gradually opening up new possibilities for visual activity. And the main thing is that drawing plays an important role in the overall mental development of a child. After all, what is intrinsically valuable is not the final product - a drawing, but the development of personality: the formation of self-confidence in one’s abilities, self-identification in creative work, purposefulness of activity. This is the main aspect of my work, so that classes bring only positive emotions to children .

Bibliography

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Application

Theme: "Funny Clown"

Program content.

1st subgroup - consolidate the ability to draw using the dabbing technique (applying the entire bristle of the brush to the paper).

2nd subgroup - practice drawing a round shape (we practice form-building circular movements of the hand).

The whole group - teach the technique of painting with paint (dip the brush into paint as needed); strengthen the ability to hold a brush correctly; repeat the material about color (1st subgroup), shape, size (2nd subgroup).

Cultivate neatness and develop children's creative activity.

Material: gouache 9 colors; white paper - sheets 30x30; stencils on backgrounds of different colors; clown silhouettes; colored circles of different diameters; glue, bristle brushes, paper napkins.

Progress of the lesson.

The music "Gopachok" is playing. The teacher invites the children to listen to music and remember when they heard it and what they did to this music, and dance.

Surprise moment.

There is a knock on the door. The teacher's assistant brings a clown doll into the room. There is an acquaintance with the toy. “The clown’s name is Pea,” says the teacher and together with the kids he examines the guest, starting with the cap. Draws children's attention to the clown costume - there are many multi-colored peas on it. The adult names the colors, and the children repeat them.

The clown offers to play. Shows a bottle that supposedly contains nothing (at the bottom there are multi-colored confetti circles).

Clown. I’ll turn it around and see what I want! (Pours out the circles on the table.)

What have you guys seen now? (Colored circles.)

What color are the circles? (Children's answers.)

Go to the table and choose a sheet of paper and colored circles - whoever wants which ones.

Children lay out circles on their sheets of paper.

Educator. How beautifully you did it! But the circles fly off and don’t stick to the paper. They need to be glued so they don't get lost.

The clown also examines the sheets with circles and admires the children’s work: “But you guys don’t have enough circles! Look how many of them are on my suit! Let’s also draw colorful circles and glue them to the paper.”

Educator. Children, take brushes and show on your palm how you will paint.

Note. The 1st subgroup takes a hint, coaxing: “So, so.” The 2nd subgroup closes the line according to the shape of the palm - an exercise in drawing round shapes. Having shown their actions on their palms, the kids begin to draw, then glue the resulting circles to paper.

Clown. Now it's a different matter! (Places the children’s work on a stand.)

Come on, everyone, close your eyes! Don't peek!

The teacher places sheets of paper with multi-colored circles glued under the clown stencils and invites the children to admire their (the clowns’) outfits.

He asks the children to close their eyes again and at this time places clown dolls on a stand.

Music is playing. Kids take dolls off the shelf and dance, holding the toy they like in their hands.

He is with a bell in his hand, wearing a blue and red cap. He funny toy, And his name is Parsley.

Topic: “A boat sails along the river”

Program content.

Strengthen the ability to draw horizontal lines, tear off lumps from a whole piece of clay.

Strengthen the skill of drawing with paint and a brush. Repeat the names of the colors.

Material: blue gouache, brush number 12, black, blue, white paper size 30x40; paper boats of different colors and sizes; story toys; clay; toy dishes.

Preliminary work.

Examination of illustrations depicting the sea, river, ships; watching streams; games with water and boats given by older children.

Progress of the lesson.

Boats are laid out on the table, you need to look at them, specify the color, size (large, small), say where the boats and ships float (in the water, along the river, along the sea).

Educator. Guys, now we will draw streams along which our boats will float. Show with your hands how you will draw streams. And what color? (Blue.)

(Children’s attention should be drawn to how to hold the brush and pick up paint.)

Children draw streams on pieces of paper and glue 2-3 boats to them.

The teacher displays children's works in a row or glues them with tape into a panorama. Then he reads a poem by S. Marshak:

SHIP

The boat is sailing, sailing,

Golden ship

Lucky, lucky gifts,

Gifts for you and me...

A duck is leading the boat,

Experienced sailor

Earth! - said the duck. -

Let's dock! Crack!

Surprise moment.

The teacher takes out a pre-prepared large boat with toys. The boat housed a doll, a bunny, a bear cub, a fox, a squirrel, etc.

Children look at the toys and name those who came to visit them.

Then, at the teacher’s suggestion, the kids make clay treats for their guests. An adult explains and shows: you need to pinch off a small piece from a large piece of clay and put it in a plate.

Having finished preparing the treat, the children answer the teacher’s questions and tell who made what and for whom.

Finally, the game “Jumping over a stream” is played.

You need to place two cords on the floor at a distance of 15-20 cm from one another - this is a trickle. Invite the children to come closer to the stream and jump over it, pushing off with both legs at once. The stream is deep, so you need to jump as far as possible so as not to fall into the water and get your feet wet.

Topic: “Balloons.”

Program content: give a general idea of ​​how to draw a monotype, continue to teach how to draw round objects, consolidate knowledge of colors, develop attention and speech, and cultivate a friendly attitude towards the doll.

Equipment: gouache of primary colors, brushes, jars of water, rags, Katya doll, balloon.

Progress of the lesson.

1. Game technique: Katya doll comes to visit. It's her birthday. “Let’s give her some balloons, guys.”

2. Examination and examination of a balloon (round, colored).

3. “And here are the beautiful multi-colored balls we will now draw for Katya’s doll” - showing the finished sample.

4. “This is how we will draw” - showing the method of action.

5. Independent creative activity.

6. Physical exercise “Let’s play with a balloon.”

7. Reading the poem “Balls” by V. Antonov:

Balls, balls

Gave it to us!

Red, blue

Give it to the kids!

Balls raised

We're over our heads

The balls are dancing!

Red, blue.

8. Playing, analysis.

Topic: “Cockerel, cockerel...”

Program content: introduce the technique of finger painting, continue to learn how to use paints, develop emotional responsiveness, interest in drawing, speech, fine motor skills, cultivate a friendly attitude towards the rooster.

Equipment: finger paint, paint containers, wet cloth wipes, image of a rooster without a tail.

Progress of the lesson.

1. Game technique: cockerels came to visit the children. The teacher looks at them together with the children: “What is the cockerel missing?”

2. “Don’t be upset, now we will draw you such beautiful elegant tails” - showing the finished sample.

3. “Look, guys, how we will draw them” - showing the method of action.

5. Physical exercise “Cockerel, cockerel...” with reading a nursery rhyme.

6. Playing, analysis

Topic: “Underwater kingdom.”

Program content: strengthening the ability to draw with a finger, give a general idea of ​​algae, develop speech, attention, and cultivate a friendly attitude towards fish.

Equipment: green gouache, wet cloth wipes, album sheets with images of fish and pebbles at the bottom, a fish toy.

Progress of the lesson.

1. Game technique: a beautiful goldfish appears. The teacher tells where she lives, what algae is (grass that grows in water), what they are needed for (to breathe). “Guys, I know a pond where the fish’s weeds and algae have not yet grown and the fish don’t live very well there. Let’s help them: let’s draw algae.”

2. “This is what kind of algae we will have” - showing the finished sample.

3. Showing the method of action.

4. Independent creative activity.

5. Outdoor game “Fish”.

Topic: “Balloons for Masha’s doll”

Program content:

1. Continue learning to draw round objects with pencils and carefully paint over them;

2. Consolidate knowledge of primary colors (red, yellow, blue and green);

3. Cultivate interest in drawing.

Equipment:

Doll Masha; sheets of paper with images of strings in red, green, yellow and blue for each child; pencils of red, green, yellow and blue.

Progress of the lesson:

Children sit on chairs. There is crying. The doll Masha comes in and cries. The teacher asks the children:

Who cries so pitifully?

Children answer:

Doll Masha.

The teacher asks the doll Masha:

What's happened?

And the doll says that the breeze blew and her favorite balloon flew away. Then the teacher offers to listen to M. Korneeva’s poem

The ball wanted to fly away -

He looked at the cloud.

I didn't let him go

She held the thread tightly.

The thread is stretched taut

Sharik began to ask me:

"Let me spin around,

Make friends with a white cloud,

Chat with the breezes

Fly in the sky with them."

I thought at first

And then she unclenched her hand.

The ball smiled at me

And melted into the heights.

Doll Masha invites children to look for the ball. The children search and do not find the ball.

How can we help the doll Masha? (draw with pencils)

What shape is the ball? (round)

The teacher gives the children sheets of paper with images of strings in red, green, yellow and blue.

What color are the threads? (green, blue, yellow and red)

The teacher suggests drawing balls for each thread in color. Shows drawing techniques. Children draw.

At the end, the children examine the work.

Physical training is carried out:

Children perform movements to the words:

I got up this morning.

He took a balloon from the shelf.

I started blowing and watching

My ball suddenly began to get fat.

I keep blowing - the ball is getting thicker,

I blow - thicker, blow - thicker.

Suddenly I heard a bang.

The balloon has burst, my friend.

The teacher offers to give Doll Masha some painted balls. The joyful doll Masha thanks the children, says goodbye and leaves.

Topic: “The lights came on in the house”

Program content
Develop imaginative perception. Cultivate the desire to convey the beauty of the environment. Teach children to apply paint spots in a certain order - in rows, in this way to depict a phenomenon that is interesting for children, which evokes joyful emotions in them - lights are lit.
Strengthen the ability to hold a brush correctly, dip it in paint, and carefully apply spots on paper.
Methodology for conducting the lesson
In the evening, the day before, watch with the children how lights gradually light up in the windows of the houses. During class, give a sheet of dark-colored paper and bright orange paint. Attach a large sheet to the board and show the children how to “light the lights.” Invite the children to “light the lights” in the windows themselves. As “lights” appear in the children’s drawings, express approval: “That’s how many lights the children lit in their houses! It’s become light everywhere!”

LIST OF CHILDREN PARTICIPATING IN THE STUDY

Control group:

1. Masha L.
2. Sasha K.
3. Dima K.
4. Veronica Ch.
5. Timur Sh.
6. Artem K.
7. Sophia B.
8. Fatima B.
9. Danila Z.
10. Ildar G.
11. Katya R.

Experimental group

1. Artem Ch.
2. Lisa S.
3. Lisa K.
4. Vanya R.
5. Sophia Sh.
6. Polina B.
7. Ismail A.
8. Varya V.
9. Alina N.
10. Nastya Z.
11. Nastya P.

about the results of thematic control on the topic

In accordance with the annual control schedule, the order of the city in Krapivinsky kindergarten No. 1 “Sun” from 2015, in order to increase the efficiency of the educational process for the implementation of the educational field of artistic and aesthetic development, a thematic inspection was carried out by a commission consisting of 3 people :

– senior teacher – educator.

The check showed:

Creating conditions for artistic and aesthetic development in preschool educational institutions. All age groups have methodological literature on artistic and aesthetic matters. For modeling classes there is plasticine, boards, stacks, and napkins. Enough material for: colored paper, cardboard, waste material, scissors. Each group has an art activity corner. Not all groups have created conditions for storing children's works. There are not enough handicrafts. All groups have didactic games to develop artistic and aesthetic ideas. Analysis of “Drawing Lesson”. In all age groups, conditions have been created for conducting classes in visual arts. There is a plan, visual aids. Material for conducting classes and free use is arranged rationally, duty is organized in older groups. Educators know the tasks facing each age group, skillfully organize children for classes, using a variety of methods to activate thinking and attention. Maintain the ratio of completed and new material.

During the classes, various forms of working with children were used: individual, collective. Music and artwork are used to create a positive emotional background. Conditions have been created for children to demonstrate their creative activity. When organizing work, age characteristics are taken into account. At the end of the classes, an analysis of children's work is carried out.

Analysis "Musical lesson". When analyzing the planning of work on music education, it was revealed that the program content of the classes corresponds to the program, age group and level of development of children. Conditions have been created for the lesson: sanitary and hygienic requirements are met, visual aids and toys are prepared.

At the beginning of the lesson, the teacher, using age-appropriate motivation, knows how to organize children and create an appropriate mood. The lesson uses various types of musical activities: dramatization, singing, playing, musical-rhythmic movement. To better assimilate program material, various methods and techniques are used. Children have the opportunity to show creative initiative and independence.

During the lesson, teachers skillfully adjust the types of load. At an older age, interest in activities continues throughout the entire period. Children of senior preschool age follow the rules of behavior and consciously fulfill the requirements of teachers. In story-based and active games, children demonstrate the skills acquired in the classroom.

“Observations of children’s independent visual activities outside of class.” In independent activities, children use a variety of artistic activities. Forms of organization are used in accordance with: individual, group, joint with educators. In the daily routine, this is mainly in the afternoon. A place for independent activities will be specially organized. The activity is carried out with a subgroup of children. The initiative comes from both children and teachers. Children's work does not differ in variety. Basically they act according to the model proposed by the teacher.

The source for the emergence of themes is reading fairy tales, stories, and poems. Children get additional impressions on walks and excursions.

"Organization of theatrical activities." In all groups, targeted work is carried out to enrich children with impressions in order to develop theatrical activities6 reading, looking at pictures, conversations. analysis of skills and abilities in theatrical activities meets age requirements. planning of theatrical activities is carried out on a calendar basis.

All groups produced equipment for theatrical activities: screens, puppet theaters, various types of theaters, costumes, masks. To create and maintain interest in this type of activity, a variety of methods and techniques are used. Teachers have sufficient experience in organizing theatrical activities in accordance with the age of children.

“Surveys of children on artistic and aesthetic development.” General indicators of the development of visual skills and abilities correspond to age characteristics. Children see and can give an objective description of the aesthetic characteristics of surrounding objects, and have emotional responsiveness. They show interest in decorative and applied arts, and independently create fabulous images in drawings and modeling.

Children are able to convey a plot composition in a drawing. Older preschoolers have the skills to create decorative compositions and show their creative abilities.

Based on the results of the thematic control, the following conclusions were drawn:

the organization and efficiency of work meets the requirements of the program being implemented; organization of work to implement the educational field of artistic and aesthetic development in all age groups meets age requirements; there is a good professional level of teachers.

insufficient equipment in the corners for theatrical activities; set up corners for folk arts and crafts in groups; diversify the methods and techniques used in work to develop creative abilities.

in order to increase the efficiency of the educational process for the implementation of the educational field of artistic and aesthetic development in accordance with the requirements of the Federal State Educational Standard for Education:

Note the good organization of work on the implementation of artistic and aesthetic development in the 1st junior group (,), in the 2nd junior group (,), in the middle group (,), in the senior group (,), in the preparatory group “a” (,), in preparatory group “b” (Baranova S.,),

2. The senior teacher will conduct a consultation for teachers of all groups “Using a variety of methods and techniques for the effective development of the creative abilities of preschoolers” (until December 11, 2015) resp.

3. The senior teacher will conduct a consultation with the teachers of the senior group (,), preparatory group “a” (,), “Equipment of a corner for independent artistic activity.” (until December 14, 2015) rep.

4. The senior teacher conducts a master class “Making attributes for theatrical activities” with teachers of all age groups. (until December 14, 2015) rep. ,

5. The creative group of the preschool educational institution, together with DDT, organize an exhibition “Decorative and Applied Arts”, create corners of decorative and applied arts in groups. (until December 25, 2015) rep.

Members of the commission:

Signatures of those being checked:

_________________ ___________________ _________________ ___________________ __________________ ____________________ __________________ ____________________ ____________________ _____________________ _____________________ ___________________

Municipal budgetary preschool educational institution

Krapivinsky kindergarten No. 1 “Sun”

dated 01/01/2001 No.

About the results of thematic control

“The system of work of preschool educational institutions for the implementation of the educational field of artistic and aesthetic development”

Based on the plan - assignments and certificates based on the results of thematic control

I ORDER:

1. For the good organization of work on the implementation of artistic and aesthetic development, express gratitude to the teachers of the 1st junior group (,), 2nd junior group (,), the middle group (,), the senior group (,), in the preparatory group “a” (,) , in preparatory group “b” (Baranova S.,),

2. The senior teacher will conduct a consultation for teachers of all groups “Using a variety of methods and techniques for the effective development of the creative abilities of preschoolers” (until December 11, 2015)

3. The senior teacher will conduct a consultation with the teachers of the senior group (,), preparatory group “a” (,), “Equipment of a corner for independent artistic activity.” (until December 14, 2015)

4. For the senior teacher, conduct a master class “Making attributes for theatrical activities” with teachers of all age groups. (until December 14, 2015)

5. The creative group of the preschool educational institution, together with DDT, organize the exhibition “Decorative and Applied Arts”. Create arts and crafts corners in groups. (until December 25, 2015)

I reserve control over the execution of the order.

Head of MBDOU ___________

"Krapivinsky kindergarten No. 1"Sun"