Art History Work Program for College. The work program of the academic discipline "History of Art"

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Introduction to human history

The discipline "Introduction to the history of mankind" is read in the first year of study and is a synthetic course, within which domestic and foreign history are combined. This approach allows students to focus on both general and specific processes that are characteristic of the historical development of different regions. This course is designed to form the basic skills of art historians in working with historical sources, to help them master a vast amount of information about the history of mankind. Thus, students receive the necessary historical base for art history knowledge.

Introduction to the history of mankind (course program)

Introduction to Art History

Basic introductory discipline, read in I-II modules of the first course. Within a relatively small course, the main facts, plots and concepts of world art history are presented in chronological order. This allows students to orient themselves in the phenomena of world art and prepares them for the perception of further detailed chronological courses.

Introduction to Art History (course program)

Professional foundations of art history

Taught during the first year and consisting mainly of practical exercises, the discipline is an introduction to the art historian profession. This is the largest course in terms of volume, since its task is to master the professional method - formal stylistic analysis and description of the monument. An important role is played by practical exercises that introduce in situ (in museums and workshops) different art techniques and their features, the specifics of their conservation and restoration. Much attention is paid to source studies: various types of information about works of art and ways of interpreting them. Methods of obtaining information are being studied - the structures of libraries, archives, computer databases and the features of working in them. It is equally important to learn different ways of presenting art history information - computer image processing, presentation of reports, the basics of computer architectural graphics. Finally, students get acquainted with the basics of fundraising - the search for grants and sponsors, application methods, etc.

Professional foundations of art history (course program)

Project seminar "Small towns of Russia: art and urban space"

The project seminar on the theme "Small towns of Russia: art and urban space" is designed for all 4 years of study. Historical cities are a complex and multifaceted environment, rich in historical and cultural phenomena and meanings, which will give students a wide choice of subjects of study according to their inclinations and future specialization. The seminar aims to actively involve students in project work through interaction with researchers and the media. The work of the seminar develops from studying the methods of art history research (year 1) through practical research and discussions (years 2 and 3) to summarizing and presenting the results of one's research in the form of a scientific article (year 4).

PS "Small cities of Russia: art and urban space" (course program)

History of decorative and applied arts (elective course)

The discipline is supposed to be read in the third or fourth years. Its subject is the main stages in the development of arts and crafts. Tasks: to form in students an idea of ​​the genesis and evolution of styles of decorative and applied arts of various eras from antiquity to the 21st century, to instill general skills in studying and analyzing monuments and stylistic features of decor. It is based on the historical method of presentation, as well as the descriptive and analytical method of studying the monuments of decorative and applied art. The peculiarities of the course include its subject-practical orientation, thanks to which students receive not only historical and theoretical knowledge about the evolution of arts and crafts and interior design, but also the skills of describing and attributing monuments. Technological methods of work of masters and artists of arts and crafts are supposed to be studied on the examples of specific museum collections.

Theory and Practice of Contemporary Art (elective course)

Art criticism (elective course)

The discipline is supposed to be read in the fourth year. The main goal of art criticism is the evaluation, interpretation and analysis of works of art, phenomena of modern artistic life, trends, types and genres of modern art. The introductory part of the course assumes a brief historical overview of the various forms of constructing a text about works of art. The lecture course is based on the history of Western European and Russian art criticism, which is important for understanding artistic processes not only in the past, but also in the present. At the seminars, on specific examples (books, articles, essays, essays), methods of artistic and critical analysis of works of art are considered: a scientific review article, a creative portrait, reviews of current exhibitions and art magazines.

Theory and History of the Science of Art (Elective Course)

The discipline is supposed to be read in the fourth year. This is an interdisciplinary course at the intersection of philosophy and history. Tasks - acquaintance with the main theories of art criticism, their relationship with modern philosophical trends. The course includes a thematic presentation of the main philosophical concepts related to art, as well as an introduction to the main texts and their analysis. As a result, the student should get an idea of ​​the diversity of the experience of understanding art as an integral and necessary sphere of individual and collective human experience.

Museum Fundamentals: Theory and Practice (elective course)

The purpose of this course is to give students the basics of theoretical and practical knowledge in the field of museum work, the emergence and development of museums, the formation of collections, acquaintance with the methods of the complex process of collecting, storing, studying, researching and exhibiting and other communicative use of cultural heritage objects. And also to create an idea of ​​museum business as a science, about the specifics of the studied stages of museum development, about the main forms of museum work, to provide a certain amount of information from the theory and methodology of the subject.

Fundamentals of museum business: theory and practice (course program)

Art of the Ancient World

One of the fundamental historical professional disciplines of the curriculum, it is supposed to be read in the first and second years. Taught by several specialist teachers, the course brings together primitive, ancient oriental, ancient and ancient American art. The inclusion of pre-civilization art and the art of Pre-Columbian America in this course is not traditional for the teaching model adopted in Russia and is intended to enrich students' understanding of the art of the Ancient World. Particular attention is paid to the emergence of art in the context of the psychological development and social communication of homo sapiens, the manifestation of basic human properties in the art of early civilizations. The theoretical side of the discipline is based not only on narrow art criticism, but also on cultural, historical, social, and psychological studies of the early periods of human development.

Art of the Ancient World. Part 1 (course program)

Art of the Ancient World. Part 2 (course program)

Art of the Middle Ages

One of the fundamental professional disciplines of the curriculum, it is supposed to be read in the second year. The course, taught by several specialist teachers, is a chronological overview of the subject, divided into the following blocks: Western Christian, Eastern Christian (including Old Russian art), Islamic and Indo-Chinese. Acquaintance with the main works of art, analysis of the main stylistic and iconographic trends is assumed. Particular attention is paid to architectural subjects, as well as the similarities and differences between artifacts and processes in different civilizations. The theoretical side of the subject is presented by a brief analysis of historiography, its main issues, hypotheses and contradictions. The theoretical understanding of the discipline is updated with the help of viewing works of art during museum classes, as well as summer field practices.

Art of the New Age

One of the fundamental professional disciplines of the curriculum, it is supposed to be read in the third year. The course is taught by several teachers and is a chronological overview of the subject, divided into the following blocks: the art of the Renaissance, the Art of the 17th–18th centuries, the art of the 19th century. The course does not carry out the traditional division of art history into Russian and Western, which will help create a single artistic context. The objectives of the course include: to form a general idea of ​​the main stages of world art, to present monuments, styles, schools, trends, creativity of outstanding masters; develop an understanding of the specifics of the evolution of artistic culture, the origins of the fundamental novelty of a number of artistic and cultural phenomena, reflected in the interaction of European art with traditional cultures and civilizations of the East, as well as the interaction of European artistic culture and Russia.

Art of the 20th century

One of the fundamental professional disciplines of the curriculum, it is supposed to be read in the third year. The objectives of the course are to present the main phenomena of art of the 20th century as an intersection of various artistic traditions and strategies, which will allow not only to present the cultural situation of the past as a “living organism”, but also to more fully assess the current state of art. The art of the 20th century is studied as a synthetic phenomenon that includes various forms of artistic creativity and perception. The course does not carry out the traditional division of the history of art of the 20th century into Russian and Western, which will help create a single artistic context of art, within which the specifics of national schools can be more clearly identified.

The Art of Photography (Elective Course)

The purpose of the elective course taught in the fourth year is to develop in students an in-depth understanding of the main trends in the history of photography. The features of the aesthetics of the masters and schools of photography of the 19th–21st centuries are studied, as well as the evolution of photography techniques. Particular attention is paid to the influence of social, cultural, political processes on the development of photography, the analysis of the specifics of the established types and genres of photography, the study of the work of major Russian and foreign masters of photojournalism, art, advertising, local history, research and other types of photography.

Costume history (elective course)

The objectives of the discipline are the study of the main stages of the evolution of the costume, the development of an integrated approach to the analysis of the functional role of the costume from the point of view of geographical, socio-political, socio-economic and psychological factors of society. The stages of evolution and stylistic development from ancient times to the present day, methods of designing costume items, as well as features of its decorative and ornamental solution are considered.

Biblical and mythological subjects in art (elective course)

The course is propaedeutic in nature. The objective of the course is to acquaint the student with the basics of correct iconographic and iconological analysis, to teach how to correctly identify the plot of the work and determine its source, to give an overview of the main themes of the fine arts of Europe from antiquity to modern times.

Biblical and mythological subjects in art (course program)

Landscape art (elective course)

The course chronologically outlines the development of landscape art in Europe, the Middle East and Asia. Symbolic and artistic concepts are considered, the main schools, techniques and masters are studied. Much attention is paid to the relationship with other art forms, such as architecture, sculpture and painting, as well as the skills of working with a variety of sources when studying the monuments of landscape gardening art.

Russian painting in a European context (elective course)

The discipline is supposed to be read in the fourth year. The main goal is to identify the relationship between the traditions of European and Russian painting. The chronological framework of the course covers the period XVIII-beginning. XX centuries, when the artistic life in Russia was integrated into the European context and developed in parallel ways. In chronological order, the course will consider the following range of problems: the mechanisms of organizing artistic life in Western European and Russian painting; ways of penetration of information about Western European art into Russia and features of its assimilation; Western European artists who worked in Russia and Russian artists who traveled to the West; exhibitions and collecting of Western European painting in Russia. The key problem of the course is the artistic and stylistic influence of Western European painting on Russian masters and the peculiarities of rethinking the traditions of European art in the Russian school of painting.

Practice 1 course

The visiting study practice in St. Petersburg is aimed at familiarizing students with the collections of Western European and Russian art in the museums of the city and is a necessary addition to the main lecture courses. During the internship, classes are expected to take place in the expositions of the State Hermitage and the Russian Museum, as well as visits to the collections of engravings and drawings. In addition to getting acquainted with the main schools of Western European painting and drawing in chronological order, stylistic, technical and technological features, issues such as the history of the formation of the collection, problems of attribution, restoration and preservation of monuments, as well as historical expositions in the halls of the State Hermitage will be covered.

Basic Concepts of Art History

The aim of this course is to provide students with a thorough knowledge of the basics of history of art, to examine major forms of artistic expression from the ancient world to the present and from a variety of cultures, to learn to look and analyze works of art within their historical context, and to articulate what they see or experience in a meaningful way. The course content also generally covers the various art forms, such as painting and drawing, architecture, sculpture, and other media (printmaking, photography, ceramics, etc.). Students will be introduced to the fundamental elements of art. Sources of study include selective readings, presentations and discussion. The class learns to look at objects of art and, through an informed perspective. The most important purpose of this course is for the student to further enhance an interest, appreciation, and understanding of the fundamental elements of style and aesthetic development in the visual arts. A number of field trips are scheduled during the course to explore fine art collections; during the course different activities will be organized in the museums to allow the students to comprehend and familiarize with the artworks.

NIS "Methods of art history research: theory and practice"

In the first year of study in the research seminar (RIS) "Methods of art history research: theory and practice" students study and master in practice with the basic skills of the scientific work of an art historian. Learn the basics of academic writing, critical reading of scientific literature, and presentation of research results orally and in writing. During the seminars, students learn to formulate a research topic, choose an adequate research method, rationally organize research work, and also search for information using various sources. Attention is paid to the formatting of scientific texts and knowledge of the rules for citing and bibliographic design of various sources. As part of the seminar, meetings are held with writing art critics, researchers from museums and the State Institute of Art Studies.

NIS Methods of art history research: theory and practice_1st year of study (course program)

The purpose of the course is to give a systematic and holistic view of contemporary art as a set of artistic practices that developed in the second half of the 20th century. The fundamentals of the theory of contemporary art are characterized, the diverse forms of artistic creation and perception in the second half of the 20th century are comprehended, the main artistic practices within the framework of Modern Art, the principles of innovation, radicalism, the use of new techniques and techniques, the principles of analytical and scientific and information activities in the field of contemporary art, various practices that allow the implementation of exhibition and audio-visual projects, installations, performances, etc.

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

Moscow Pedagogical State University

Artistic and graphic faculty

Work program of the discipline

art history

Code and direction of preparation

072500.62 DESIGN

Profile

GRAPHIC DESIGN

Qualification (degree) of the graduate

Bachelor

Form of study

full-time

Moscow

2011

1. The purpose of mastering the discipline

The discipline belongs to the most important areas of humanitarian knowledge and is a necessary part of art education, aimed at the formation of basic professional training. Art as a special sphere of human life was realized by people already at the earliest stages of historical development. In modern culture, art is a specialized activity that requires professional training. The purpose of the discipline is to study the history of art of different eras and peoples, as well as to form knowledge about a variety of artistic styles and trends. The study of worldview concepts of different eras and understanding of the historically changeable forms of artistic and imaginative thinking will form a holistic view of art and expand the scope of the student's cultural and creative potential. The comprehension of a work of art as an integral complex structure that embodies the artistic conception by various means of visual language will form and enrich the understanding of the specific tasks of artistic thinking.

1. The place of the discipline in the structure of the BEP of the undergraduate degree

The discipline "History of Art" is included in the general professional cycle (B.2), the basic part (B.2.1)curriculum for the preparation of bachelors of design. The "History of Art" module consists of three sections: History of Art (Ancient World, B.2.1/1.1), History of Art (Middle Ages, B.2.1/1.2), History of Art (Modern and Modern Times, B.2.1/1.3).

• To study the discipline, knowledge, skills and competencies are required, obtained by students in a secondary school as a result of studying world history and the foundations of world artistic culture.
• At the same time, they should studydisciplines of the basic and variable parts of the GSE cycle: History (B.1.1/1), Philosophy (B.1.1/2), Culturology (B.1.2/4). A number of disciplinesbasic and variable parts of the general professional cycle: History of design, science and technology, B.2.2/.1; Fundamentals of Image Theory, B.2.2/3; Color science and coloristics, B.2.2/4. And the followingprofessional cycle disciplines: Propaedeutics (Fundamentals of academic composition) B.3.1 / 1.1; Propaedeutics (Fundamentals of Composition in Design) B.3.1/1.2; Introduction to the specialty (B.3.1/2.1); Introduction to computer technology (B.3.1/3.1); Fundamentals of computer graphics (B.3.1 / 3.2).

• "History of Art" isbase in the study of a number of disciplineswhere it is necessary to know the principles of solving various artistic and design problems and the ability to apply them in artistic and design activities. Such disciplines include from the general professional cycle: "Academic Painting" (B.2.1/3), "Academic Drawing" (B.2.1/2), "Colour Science and Coloring", "Academic Sculpture and Plastic Modeling" (B.2.1/4). From the professional cycle: "Design in graphic design" (B.3.1/2), "Computer technology in graphic design" (B.3.1/3).

The level of theoretical training of students in the "History of Art" can be expanded by studying the followingdisciplines and elective courses: West and East: cultural traditions (GSE cycle, B.1.2 / in 1); Mythological and religious subjects in art / Culture and art of the Scythians / Art of Buddhism (OPD cycle, B.2.2 / in 2); Semiotics of culture (B.2.2/c7).

"History of art" refers to disciplines that are meaningfully interconnectedwith museum experience(B.5.3).

The discipline is used in the formation of the content of the final state certification.Tasks of the final state examare interdisciplinary in nature and are at the intersection of such disciplines as "Design in graphic design", "History of design, science and technology" and "History of art". The topics of graduation qualification works include the development of projects for digital products, incl.development of teaching aids and electronic educational resources (EER) in the disciplines of educational programs of specialties of the HGF MSGU.

3. Competencies of students, formed as a result of mastering the discipline

As a result of mastering the discipline "History of Art", the graduate must have the following general cultural competencies (OC):

• owns a culture of thinking, is capable of generalizing, analyzing, perceiving information, setting a goal and choosing ways to achieve it (OK-1);
• is able to logically correctly, reasonably and clearly build oral and written speech (OK-2);
• ready for cooperation with colleagues, teamwork (OK-3);
• strives for self-development, improvement of their qualifications and skills (OK-6);
• is able to critically assess their strengths and weaknesses, outline ways and choose means of self-improvement (OK-7);
• uses the basic provisions and methods of social, humanitarian and economic sciences in solving social and professional problems; able to analyze socially significant problems and processes (OK-9);
• ready for a respectful and careful attitude to the historical heritage and cultural traditions, tolerantly perceive social and cultural differences (OK-10);
• realizes the importance of humanistic values ​​for the preservation and development of modern civilization; ready to accept moral obligations in relation to the environment, society, other people and oneself (OK-12);
• realizes the essence and significance of information in the development of modern society; owns the main methods, ways and means of obtaining, storing, processing information (OK-14);
• focused on the use of methods and means of cognition, training and self-control for intellectual development, raising the cultural level and professional competence, maintaining one's health, moral and physical self-improvement (OK-15).

As a result of mastering the discipline "History of Art", the graduate must have the following professional competencies (PC):

• analyzes and determines the requirements for the design project; draws up a detailed specification of the requirements for the design project; is able to synthesize a set of possible solutions to a problem or approaches to the implementation of a design project; scientifically substantiate their proposals (PC-1);

• owns a drawing, the ability to use drawings in the practice of drawing up a composition and processing them in the direction of designing any object; owns the principles of choosing a technique for the execution of a particular pattern; skills of linear-constructive construction and the basics of academic painting; elementary professional skills of a sculptor; modern type culture; methods of work in prototyping and modeling; techniques for working with color and color compositions; methods and technology of classical easel graphics techniques (engraving, etching, monotopia); basic rules and principles of typing and layout (PC-2);
• develops a project idea based on a conceptual, creative approach to solving a design problem; possible methods of harmonization of forms, structures, complexes and systems; a complex of functional, compositional solutions (PC-3);
• capable of designing items, goods, industrial designs, collections, complexes, structures, objects, able to prepare a complete set of design project documentation for its implementation, to carry out basic economic calculations of the project (PC-4);
• focused on teaching in general education institutions, educational institutions of secondary vocational education and additional education, is able to plan the educational process, perform methodological work, independently lecture or conduct practical classes (PC-6).

As a result of mastering the discipline, the student must:

4. Structure and content of the discipline

The total labor intensity of the discipline according to the Federal State Educational Standard of Higher Professional Education is 10 credit units (360 hours). History of Art (Ancient World) - 3 credits (108 hours). History of Art (Middle Ages) - 3 credits (108 hours). History of Art (Modern and Contemporary) - 4 credits (144 hours).

The structure of the discipline (full-time education)

1. Logistics of discipline

Required technical teaching aids used in the educational process for mastering the discipline:an auditorium equipped with modern computer facilities with technical capabilities for demonstrating visual material and multimedia presentations.

10. Annotation of the work program of the discipline "History of Art".

The purpose of the discipline:The study of the history of art of different eras and peoples and the formation of knowledge about a variety of artistic styles and trends. The study of worldview concepts of different eras and the understanding of historically changeable forms of artistic and figurative thinking. Formation of a holistic view of art and expansion of the cultural and creative potential of the student. Formation of an understanding of the specific tasks of artistic thinking through the comprehension of a work of art as an integral complex structure that embodies the artistic conception by various means of visual language.

The place of discipline in the structure of the OOP:

The discipline "History of Art" is included in the general professional cycle (B.2), the basic part (B.2.1) of the curriculum for the preparation of bachelors of design.

Requirements for the results of mastering the discipline:

The process of studying the discipline is aimed at the formation and development of competencies:

(codes) : OK: 1,2,3,6,7,9,10,12,14,15; PC: 1,2,3,4,6.

As a result of studying the discipline, the student must:

Know: the main stages and patterns of development of world art; the main monuments of world art from ancient times to the twentieth century; biographies and works of outstanding artists of different times and peoples; have an idea about the types and genres of art and their specifics; about the most important artistic trends, styles and trends in world art.

Be able to: freely navigate in a variety of historical eras, directions, trends of world art; independently analyze, compare, identify stylistic features and characteristic trends of world art; use scientific terminology, present and substantiate the knowledge gained.

Possess: the skills of searching, selecting and processing visual and verbal information, the skills of the creative process, the search for making creative decisions in the embodiment of an artistic concept; skills in the use of diverse artistic means created over the long development of art in future professional activities.

The total labor intensity of the discipline according to the Federal State Educational Standard of Higher Professional Education is :

10 credits (360 hours). History of Art of the Ancient World - 3 credits (108 hours). History of Art of the Middle Ages - 3 credits (108 hours). History of Art of New and Modern Times - 4 credits (144 hours).

Semesters: 1, 2, 3, 4, 5, 6, 7.

The main sections of the discipline: History of art (Ancient world), History of art (Middle Ages), History of art (Modern and Modern times).

Art. Kirina N.Yu., teacher of the Department of Descriptive Geometry, Computer Graphics and Design, Moscow State Pedagogical University,

Art. Lecturer of the Department of Descriptive Geometry, Computer Graphics and Design, KhGF MSGU Podgorneva E.V.

The program was approved at the meeting of the department _______________________________________

dated "___" _______________, protocol No. _____________

Head department

______________________________

" ___ " ________________ G.

Agreed:

UMR Specialist

___________________

"___" ________________G.

The program was developed on the basis of N.Yu. Protopopov in the subject "History of Art". The program was created for 4 years. The age of students is 11-14 years old. Classes for this program are held for 40 minutes, once a week.

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Explanatory note

The teaching of the history of fine arts is aimed at the comprehensive harmonious development of the personality of students, the formation of their worldview, moral and aesthetic ideal, and the cultivation of a culture of feelings.The program includes main sections from the history of Western European, Russian art and the art of the Soviet period.

One of the main objectives of the course is to enable students to comprehend the spiritual experience of mankind through the study of the history of art.

The main educational task is the development of artistic perception in students. Solving this problem, the teacher is obliged to take care of the general humanitarian and artistic erudition of his pupils. Students should develop the skills to analyze a work of art. Giving an idea of ​​the development of art, both throughout history and within one era, the teacher needs to consider each phenomenon of art in connection with the specific historical situation in which it arose.

The methodology of the lesson should be aimed at solving the main tasks: the purposeful development of the creative abilities of students, their cognitive and emotional activity. The mastery of these tasks is most appropriate for problem-based learning. The types of classes can be varied (story, lecture, conversation, debate, seminar, excursion, etc.), as well as the forms of work of students (work with a book, analysis of a work, research work, writing, performing a task on the classification of works, etc.), but the main principle of the approach to studying the material should be the formulation of the problem and the search for ways to solve it.

In order to further develop the activity of students, a deeper and more specialized study of the history of art, the material of the program can be expanded in optional classes.

Students' notebooks are of great importance for the creative mastery of the subject. They reflect the independent work of students both within the course and outside it. Notebooks should be systematically checked by the teacher.

All classes should be conducted in close connection with the subjects of general education and art schools. When conducting classes in the history of fine arts, it is necessary to make extensive use of technical teaching aids. They expand the capabilities of the teacher, in particular, in creating and disclosing problem situations, implementing interdisciplinary connections (comparison of works of fine art with works of literature, music, cinema, etc.).

The program was developed on the basis of Yu.N. Protopopov for Children's Art School and Children's Art School. Classes are held once a week for 40 minutes.

Approximate thematic plan

Topic No. Topic name Number of hours

1 class

1. Introduction 1

2. Art of primitive society 3

3. Art of Ancient Egypt 5

4. Art of Ancient Greece 7

5. Art of Ancient Rome 2

6. Art of Byzantium 2

7. Romanesque art 10-12 centuries in 2

8. Gothic art of the 12th-14th centuries. 2

9. Renaissance Art in Italy 7

10. Renaissance Art in Northern Europe 2

11. Repetition 2

Total: 36

Grade 2

12. Art of Italy in the 17th century. 1

13. The art of Spain in the 17th century. 1

14. The art of Flanders in the 17th century. 2

15. The art of Holland in the 17th century. 4

16. Art of France in the 17th century. 1

17. Art of France of the 18th century. 1

18. Art of the French Revolution 1

19. Art of England 18-beginning. 19th century 1

20. Art of Spain 18-beginning. 19th century 1

21. The Art of Revolutionary Romanticism in France 1

22. The art of realism in France ser. 19th century 1

23. Impressionist Art 3

24. Post-Impressionist Art 2

25. Characteristics of the main directions

Western European art of the 20th century. 2

26. Repetition 2

27. Art of the Ancient Slavs. Kievan Rus 11-12 centuries. 2

28. Art of the Vladimir-Suzdal Principality of the 12th century. 2

29. Art of Novgorod and Pskov 11-15 centuries. V. 2

30. Art of Moscow 14-15 centuries. 2

31. Art of Moscow 16-17 centuries. 2

32. Repetition 2

Total: 36

Topic No. Topic name number of hours

3rd grade

Russian art 18-beginning. 20th century

33. Architecture of the first half of the 18th century. 2

34. Sculpture and painting of the first half of the 18th century. 2

35. Architecture and art of the second half of the 18th century. 3

36. Sculpture and painting of the second half of the 18th century. 3

37. Architecture of the first half of the 19th century. 2

38. Sculpture and painting of the first half of the 19th century. 5

39. Genre painting of the second half of the 19th century. 4

40. Creativity I.E. Repina 2

41. Landscape painting of the second half of the 19th century. 2

42. Historical and battle painting

Second half of the 19th century. 2

43. Creativity V.I. Surikov 2

44. Art of the end of the 19th beginning. 20th century 5

45. Repetition 2

Total: 36

4th grade

46. ​​Fine arts of the period

October Revolution 4

47. Art of the 20s 4

48. Art of the 30s 4

49. Art of the period of the Great Patriotic War 6

50. Art of the late 40s-early. 80 years 12

Soviet period 3

52. Repeat 3

Total: 36

1 class

Topic 1. Introduction

What is art. Art and nature, art and society, art and culture, art and science, the role of art in the organization of the environment. Why study art history? specificity of fine arts. Types and genres of fine arts.

Number of hours: 1.

Topic 2. The art of primitive society

Origin of art. Its functions and connection with human labor activity. Cosmogonic representations of ancient man, reflected in the works of primitive art.

Foci of primitive culture in Russia. Our rock images on the banks of the Angara, Lake Ladoga. Kapova cave in the Urals.

Monuments of primitive culture in Europe and Africa. Caves of Lascaux and Font-de-Gaumes in France and Altamira in Spain. Rock art of Tassilin-Ajer in Africa.

The emergence of sculpture. Megalithic structures: menhirs, dolmens, cromlechs.

Number of hours: 3.

Topic 3. Art of Ancient Egypt

The evolution of the art of the ancient world. The monumental character of the art of the ancient world. The leading role of architecture and sculpture in the art of the ancient world. Mythology of Ancient Egypt. Stylistic evolution of the art of Ancient Egypt and the connection of art with religious ideas and the funeral cult. Synthesis of arts in ancient Egypt.

The architecture of ancient Egypt and the power of its influence. Evolution of types of tombs. Development of the Egyptian sculptural portrait. Canon in Egyptian sculpture.

The specific nature of the image in the relief and painting of Ancient Egypt: flatness, narrative, frieze division of the plane, scale of figures. Artistic masterpieces from Tutankhamun's tomb. Life and preservation of the monuments of Ancient Egypt in the conditions of modern civilization.

Number of hours: 5.

Topic 4. Art of Ancient Greece

Stages of development of the art of Ancient Greece. The unity of the spiritual and physical beauty of man in classical ancient Greek art. The humanistic character of ancient Greek art ("man is the measure of all things"). Mythology of Ancient Greece.

Addition and evolution of the order as an aesthetic constructive system. Three types of orders. The addition of the classical type of ancient Greek temple. The leading role of the exterior in ancient Greek architecture. Modern international campaign to save the monuments of the Acropolis of Athens.

The evolution of ancient Greek sculpture. Sculpture of the period and archaic and early classics. The art of high classics. Synthesis of architecture, sculpture and painting. late classic. Hellenism. The revival of monumental heroic art. The desire for pathos, external effects, virtuosity of performance in the Rhodes school. Black-figure and red-figure vase painting and its subjects.

Number of hours: 7.

Topic 5. Art of Ancient Rome

Brief information on the history of republican Rome and the Roman Empire. Traditions adopted by the art of ancient Rome and the originality of ancient Roman art. The use of the Greek order for decorative purposes. The contribution of the Romans to the history of architecture and the diversity of types of architectural structures. in ancient Rome (forums, basilicas, domed buildings, baths, aqueducts, viaducts, triumphal arches, theaters, amphitheaters). The development of the artistic traditions of ancient Greece in ancient Roman monumental painting (murals and mosaics in Pompeii). Fayum portraits. The value of the art of ancient Rome.

Number of hours: 2.

Topic 6. Art of Byzantium

Hellenistic traditions in the art of Byzantium. The desire of the art of Byzantium to reproduce a holistic picture of the world.

Byzantine architecture. The addition of the type of cross-domed church. The value of the interior in the architecture of Byzantium. The introduction of natural light into the compositional and ideological structure of the scenery of the Byzantine church, the Church of St. Sofia (construction, interior). The power of the emotional impact of the monumental art of Byzantium. The Canon in Byzantine Painting as a Reflection of the Inviolability of the Christian Idea. Artistic crafts in Byzantium.

Number of hours: 2.

Topic 7. Romanesque art 10- 12 centuries.

Medieval art. The complexity of the interaction between religion and art. The dominance of the religious worldview in the Middle Ages. Spirituality, depth of expression of feelings in the works of medieval art.

The leading role of architecture in the synthesis of the arts of the Middle Ages. The value of cities and monasteries as cultural centers. Romanesque style. Construction of castles of feudal lords, fortresses, monasteries, churches. Constructive and figurative-artistic features of Romanesque buildings. The expressiveness of the sculpture of the Romanesque cathedrals.

Number of hours: 2

Topic 8. Gothic art 12- 14th century

Gothic - the art of the heyday of medieval cities. Synthesis of arts in a Gothic cathedral (architecture, sculpture, painting, stained glass, music, mystery, arts and crafts). Design features of Gothic cathedrals. Strengthening the role of sculpture in the architectural ensemble. Internal dynamics, reflection of life observations in Gothic sculpture. Stained glass.

Secular and realistic tendencies in the book miniature of the 15th century.

Art of France. Art in Germany.

Number of hours: 2.

Topic 9. Renaissance art in Italy

The main features of the Renaissance. The formation of a humanistic worldview in the Renaissance. Periodization of Renaissance art.

The study of the ancient heritage, perspectives, anatomy. The emergence of a new easel form of painting. The nature of composition in Renaissance painting. Drawing.Giotto. Reproduction of three-dimensional space, transfer of plastic volume. The work of Brunelleschi. The essence of Donatello's creativity. Embodiment of the humanistic ideal in sculpture. Combination of monumental decorativeness and realistic portrait in sculpture. Realistic innovative searches in painting. Piero dela Francesca. Refinement, fragility of Botticelli's images: "Spring", "Birth of Venus". The significance of Leonardo da Vinci as a scientist, thinker and artist. The creative path of Leonardo. Characteristic features: philosophical understanding of life, the creation of a generalized type of human beauty, a synthetic image of nature. Spirituality and high earthly humanity of "Madonnas". Philosophical breadth and compositional solution of the theme of "The Last Supper". The depth of the portraits of Leonardo.

The search in the work of Raphael for the ideal of a harmoniously developed perfect person. Monumental compositions of Raphael. The significance of Raphael's work in the development of classical drawing, composition, portraiture and monumental painting of the High Renaissance.

The work of Michelangelo as the most vivid plastic expression of the ideals of the High Renaissance and the tragedy of the late period of the era. The greatest monumental fresco cycle is the painting of the Sistine Chapel. Architectural work of Michelangelo. The meaning of Michelangelo's work.

The work of Titian. The role of Titian in the development of the Renaissance portrait. Comparison of the Florentine and Venetian schools of painting.

The meaning of Renaissance art for the further development of world art.

Number of hours: 7.

Topic 10. Renaissance Art in Northern Europe

Humanist tendencies V development of the problems of spiritual life and a keen interest in the surrounding living environment in the art of the Netherlands and Germany in the Renaissance. The Realistic Reform of Jan van Eyck. The role of Pieter Brueghel in the formation of the peasant genre and the national landscape. The otherness of P. Brueghel's creativity, behind which are the topical problems of our time.

A. Dürer is one of the greatest humanists of the Renaissance. His role in creating a national direction of German realism. Comparison of the art of the Italian Renaissance with the art of the northern Renaissance: themes and plots; visual system.

Number of hours: 2.

Topic 11. Repetition.

Repetition of the passed material for 1 class. Stages of development of art. Basic concepts. Major masters and their works.

Number of hours: 2

Grade 2

Topic 12. Art of Italy in the 17th century.

The complexity of the formation of art in the 17th century. Interrelation of science and art. Development in the 17th century national art schools. The complex interaction of various artistic movements (academism, baroque, classicism) in the process of forming the stylistic unity of art in the 17th century. Consolidation of the system of realistic genres in the painting of Western Europe in the 17th century.

New figurative and plastic principles in the work of L. Bernini. Democracy and vital persuasiveness of Caravaggio's painting. The value of Caravaggio's work in the development of European painting.

Number of hours: 1.

Topic 13. Art of Spain in the 17th century.

The work of El Greco. The tragic nature of his images. Rise of Spanish realistic painting. Material authenticity and sublimity of artistic images created by F. Zurbaran.

The work of D. Velazquez is the pinnacle of Spanish realistic painting. Compositional and coloristic mastery of Velasquez. Court portraits.

Number of hours: 1.

Topic 14. 17th century Flanders art

Realistic basis and huge life-affirming force of creativity

P.P. Rubens. Versatile talent of Rubens, his painting skills. The desire of A. Van Dyck to embody the ideal of a spiritually refined personality in portraits.

Number of hours: 2.

Topic 15. The art of Holland in the 17th century

The leading role of easel realistic painting in Dutch art. Recreation of reality, combined with a keen sense of beauty, in landscapes and still lifes of Dutch painters. The desire to embody the poetry of everyday life, the charm of human everyday life in the works of the everyday genre. "Little Dutch". The significance of the work of F. Hals in the formation of the Dutch art school. The work of Rembrandt van Rijn is the pinnacle of realistic art. Life and work of Rembrandt. The enormous spiritual significance and philosophical depth of Rembrandt's art. The role of light as a means of enhancing emotional expressiveness in his paintings. The picturesque fact of his canvases. Depth of psychological characteristics, reflection of the whole life path of a person, his spiritual purity in later portraits. High craftsmanship and depth of content in Rembrandt's etchings.

Number of hours: 4.

Topic 16. French art of the 17th century.

Classicism in the art of France in the 17th century. Elevation, solemnity, moral purity of N. Poussin's art. L. Le Nain and J. de Latour are representatives of the "painting of the real world" direction. Le Nain is the creator of the peasant genre in French painting. The statement of simplicity, vital truth and moral value of images of peasants. The origin of the features of realism in French art.

The dominance of classicism as an official, court direction in architecture: Versailles, Louvre.

Number of hours: 1.

Topic 17. French art of the 18th century

The addition of the Rococo style as from the branching of the fading Baroque. The emergence of a new wave of classicism.

Acute realistic observation, the transfer of psychological complexity and subtlety of feelings in the works of A. Watteau. The quivering of the brushstroke, the richness of the finest colors in Watteau's paintings. Pastoral genre in the works of F. Bush. Living sensations of the dynamics of life in the work of O. Fragonard. J.V. Chardin as a painter of everyday life and an exponent of the ethical ideals of the third estate. The emergence of a new hero. The artistic value of ordinary objects of the surrounding material world in Chardin's still lifes. The rise of applied arts. General characteristics of furniture, decor.

Number of hours: 1.

Topic 18. Art of the era of the French bourgeois revolution

The leading role of France in Western European art. The appeal of the art of revolutionary classicism (J.L. David) to the civil ideals of antiquity and to direct revolutionary reality. The inconsistency of the work of D. Ingres.

Number of hours: 1.

Topic 19. Art of England 18- early 19th century

The accusatory nature of W. Hogarth's art, combined with bourgeois moralization. The creation of a high heroic ideal of a man of his time in the work of D. Reynolds. Poetry, dreaminess, spirituality of images and virtuosity of execution in T. Gainsborough's portraits. Development of a realistic landscape in England (D. Constable).

Number of hours: 1.

Topic 20. Art Spain, late 18th - early 19th century.

Reflection of the heroic struggle and the tragic fate of the Spanish people in the work of F. Goya. Goya portraits. Color and light intensity of Goya's canvases. Realistic essence and fantastic form of the series of etchings "Capriccios".

Number of hours: 1.

Topic 21. Art of revolutionary romanticism in France

The main features of progressive revolutionary romanticism. His role in the development of European art of the XIX century. The struggle between romanticism and classicism.

Emotional tension, dynamics, realistic generalization in the works of T. Gericault. E. Delacroix - the head of progressive romanticism. Genre diversity of Delacroix's creativity. Intense color contrast in his works.

Number of hours: 1.

Topic 22. The art of realism in France in the mid-19th century.

Disclosure of various aspects of critical realism in graphics and painting O. Daumier. The search for a new positive hero, images of workers. The high moral and humanistic significance of the work of F. Millet. The theme of peasant labor. Formation of a realistic landscape in France. Poetic vision of nature in the work of K. Corot. Koro color. Valery painting. The Plein Air Problem and the Barbizon School.

Number of hours: 1.

Topic 23. The art of impressionism

Creation of a new painting system in Western European art of the 19th century. and its relationship with the new world outlook. Struggle against salon and academic art.

The value of creativity E. Manet. Sharpness of characters in the art of E. Degas. Description of the main features of the creative method of the Impressionists: themes and plots in painting; principles of composition; painting system of the Impressionists. Explanation of the term "impressionism". C. Monet. Development of the plein air and the technique of impressionism. The meaning and charm of the images of O. Renoir. Solution of painting and color problems by the Impressionists. Images of everyday life are the heroes of the Impressionists.

Creativity O. Rodin. The realistic basis of creativity and the influence of impressionism. The desire for a philosophical understanding of reality. The value of Rodin's work, his discoveries for the development of sculpture in the 20th century.

The influence of impressionism on the development of art in other countries.

Number of hours: 3.

Topic 24. The art of post-impressionism

Post-impressionists are the forerunners of modern Western European art. Interpretation of space and form of objects in the works of P. Cezanne. Color value in shape modeling.

Emphasized emotional expressiveness, expressiveness of V. Van Gogh's painting. Animation and humanization of nature in his works. The role of color and texture. Van Gogh's letters are an outstanding document of the artist's inner creative work.

Departure of P. Gauguin from reality into the world of "children of nature". Generalized-decorative understanding of color by Gauguin.

Number of hours: 2.

Topic 25. Characteristics of the main trends in Western European art of the 20th century.

The complex and contradictory nature of the art of the 20th century.

A. Matisse. Colorfulness, optimism, decorativeness of his work. Still lifes and portraits of Matisse.

The spread of various formalist trends: cubism, abstractionism, surrealism and other trends, their rapid change. Realistic art of the early 20th century.

P. Picasso. Humanism of the best works. Exposing the anti-human essence of fascism. Graphic arts.

Number of hours: 2.

Topic 26. Repetition.

Repetition of the material covered. The main trends in Western European art 17-beginning. 20th century Basic concepts, styles. The most prominent artists and characteristics of their work.

Number of hours: 2.

Topic 27. The art of the ancient Slavs.Art of Kievan Rus 11- 12th century

Diversity and richness of the artistic heritage of Ancient Rus'. Religious buildings: pagan sanctuaries, idols. Household items, jewelry, ornaments. Slavic artistic traditions in the art of Ancient Rus'. The formation and flourishing of the Kievan state. Cultural ties with Byzantium. Wooden architecture of Ancient Rus'. Kiev Sophia is a symbol of the power and greatness of the Kyiv state. Architectural composition of the Kyiv Sophia - the main cathedral of Kievan Rus. The monumentality of architectural monuments of Chernihiv in the 11th - 12th centuries.

Mosaics and frescoes of Kyiv Sofia. Secular everyday scenes in the frescoes of the towers of the cathedral. Mosaics of the Church of Mikhail Arkhangel of the Mikhailovsky Monastery. Spiritualized humanity, high skill in the execution of the icon "Vladimir God's Loss"; her story. High level of applied art and book miniatures.

Number of hours: 2

Topic 28. Art of the Vladimir-Suzdal Principality 12 V.

The formation of local art schools. The originality of the Vladimir-Suzdal art school. Fortress and palace buildings of Vladimir. Harmonious connection of Russian architecture with the landscape. The symbolic meaning of the sculptural decoration of the Dmitrievsky Cathedral.

Monumentality, expressiveness, high perfection of form in Russian icon painting of the 12th century. Damage inflicted on Russian culture by the Mongol invasion.

Number of hours: 2.

Topic 29. Art of Novgorod and Pskov 11 - 15 centuries.

Original features in the architecture and painting of Pskov.

Laconism, severe simplicity and the heroic power of the buildings of Novgorod in the 12th century. Development of the type of a small four-pillar temple. The murals of Theophanes the Greek in the Church of the Transfiguration of the Savior are a masterpiece of medieval painting. Internal expression and dramatic intensity of the images of Theophan the Greek. The originality of the Novgorod school of icon painting.

Number of hours: 2.

Topic 30. Art of Moscow 14- 15th century

Reflection of the growth of self-consciousness of the Russian people, the idea of ​​creating a centralized state in the art of Muscovite Rus'.

Rebuilding the Moscow Kremlin and strengthening the monasteries around Moscow. A new type of Moscow church. The Assumption Cathedral (architect Aristotle Fiovaranti) is the central building of the Moscow Kremlin. The embodiment of the traditions of Vladimir, Novgorod and Pskov architecture in the buildings of the Moscow Kremlin.

The value of A. Rublev's creativity for ancient Russian painting. The world of spiritual harmony and mutual love is the world of Rublev's works. Spirituality and philosophical depth of his work. The work of Dionysius. Frescoes of the Ferapontov Monastery. Features of the visual system of ancient Russian painting.

Book miniature and arts and crafts of Muscovite Rus.

Number of hours: 2.

Subject 31. Art of Moscow 16 - 17 centuries.

The emergence of printing and the revival of cultural life. Variety of constructive solutions and decor in Russian architecture of the 16th - 17th centuries. Creation of tent temples. Church of the Ascension in Kolomenskoye. The perfection of its forms and connection with the surrounding landscape. St. Basil's Cathedral (Protection "on the moat"), erected by Barma and Posnik. His plan, composition, decorative solution.

The growing importance of the secular principle in art; life-affirming character, decorative splendor of Russian art of the 17th century. Rostov Kremlin. Features of Russian wooden architecture. The new character of the image in the icons of the 17th century. Stroganov school. Significance of Simon Ushakov as an artist of transitional times. Folk painting on wood. Folk picture.

Number of hours: 2.

Topic 32. Repetition.

Repetition of the material covered for the 2nd grade.

Number of hours: 2.

3rd grade

Topic 33. Architecture of the first half of the 18th century.

The Naryshkin baroque is a transitional period in Russian architecture. The integrity of the architectural appearance of St. Petersburg. Works of foreign masters in Russia and the decisive role of Russian national traditions in their work. D. Trezzini.

National originality of Russian baroque. Creativity F.V. Rastrelli - the heyday of Russian baroque. Catherine's Palace in Tsarskoye Selo. Winter Palace and Smolny Monastery in St. Petersburg. The development of park art.

Number of hours: 2.

Topic 34. Sculpture and painting of the first half 18 V.

Development of a realistic portrait in Russian sculpture and painting of the 18th century. The image of Peter I in the work of V.K. Rastrelli. Creativity A.M. Matveeva, I.N. Nikitina, A.P. Antropova. The typicality of the portrait, growing into a social characteristic. The emergence of Russian still life.

The role of M.V. Lomonosov in Russian culture and art.

Number of hours: 2.

Topic 35. Architecture and arts and crafts of the second half of the 18th century.

Expression of the ideas of enlightenment, citizenship, ideas about the ideal state in the aesthetics of classicism. The significance of the formation of the St. Petersburg Academy of Arts in the development of Russian art.

Formation of the style of Russian classicism in architecture, Creativity of the largest architects of Russia in the 18th century: V.I. Bazhenova, M.F. Kazakov. The heyday of the talent of C. Cameron, D. Quarenghi in Russia.

Decorative and applied arts: interior painting, furniture, porcelain, tapestries, bronze, glass. Costume.

Number of hours: 3.

Topic 36. Sculpture and painting of the second half 18 V.

Monument to Peter I by E. Falcone, revealing not only the image of Peter himself, but also the meaning of his activity, his role in the historical fate of Russia.

The formation of classicism in Russian painting. The concept of "academic painting" and "academism". The system of education in the old Academy of Arts. Creativity A.P. Losenko - masters of historical painting.

The development of a realistic portrait in Russian painting of the 18th century. - manifestation of attention to the individual, the inner world of a person: the work of F.S. Rokotova, D.G. Levitsky, V.L. Boro Vikovsky.

The formation of everyday genre and landscape as independent genres in Russian painting.

Number of hours: 3.

Topic 37. Architecture of the first half of the 19th century.

Architecture of the first half of the 19th century as the highest achievement of Russian classicism: V.N. Voronikhin - Kazan Cathedral, A.D. Zakharov - Admiralty. The largest master of architectural ensembles K. I. Rossi. Activities O.I. Vova and D.I. Gilardi on the restoration of Moscow after the Patriotic War of 1812

Number of hours: 2.

Topic 38. Sculpture and painting of the first half of the 19th century.

The heyday of sculpture of mature classicism. Creativity I.P. Martos: a monument to Minin and Pozharsky. Small sculpture. Tombstone: I.P. Martos is a tombstone. S.S. Volkonskaya. F.P. medallions Tolstoy dedicated to the Patriotic War of 1812. Classical, romantic and realistic trends in Russian painting in the first half of the 19th century. New features of painting in the early 19th century Interest in the life of the people and national character.

O.A. Kiprensky. Features of romanticism in the artist's work, the realistic nature of his portraits. V.A. Tropinin. His role in the formation of the Moscow school of painting. Tropinin is a master of chamber, intimate portraits. Genre painting. A.S. Venetsianov. His role in the development of Russian realistic painting. Images of Russian peasants and Russian nature. G.V. Magpie - his work and cha desiring fate.

Landscape art in Russian painting. The work of S. F. Shchedrin is an alloy of features of classicism and romanticism. Interest in the problems of the plein air.

K.P. Bryullov. Academic traditions and features of romanticism and realism in his work. Creativity of the great Russian artist A.A. Ivanova. Work on the painting "The Appearance of Christ to the People", Innovation and significance of its ideological and moral meaning and expressiveness of the means of painting. The significance of Ivanov's work for Russian art.

Creativity P.A. Fedotov - the forerunner of critical realism in Russian painting of the second half of the 19th century.

Number of hours: 5.

Subject 39. Genre painting of the second half of the 19th century.

Creativity of the Wanderers

Social movement in Russia in the 60-70s, its reflection in Russian journalism and art. The leading position of the everyday genre in painting of the second half of the 19th century.

Protest against academic art. Organization of the St. Petersburg artel of artists. The emergence of the Association of Traveling Art Exhibitions - an association of advanced forces of Russian art.

The work of one of the founders of critical realism in Russian painting - V.G. Perov.

I.N. Kramskoy is an organizer, theorist and ideological leader of the Wanderers. Social problems touched upon in the works of the Wanderers. The role of the founder of the art gallery P.M. Tretyakov in the development of Russian realistic art in the second half of the 19th century.

World significance of the work of Russian artists of the second half of the 19th century.

Number of hours: 4.

Topic 40. Creativity of I.E. Repin

I.E. Repin is a great Russian realist painter. Stages of the creative path. Displaying the hard life of the people. Analysis of the composition of the painting "They didn't wait". A broad historical generalization of the life of Russia. Brightness of types, social significance, features of the compositional solution. The world significance of Repin's work.

Number of hours: 2.

Topic 41. Landscape painting

Appeal of artists to the Russian national landscape. Disclosure in the images of the nature of moods and experiences of a person. Romanticism of the works of I.K. Aivazovsky. Features of the landscapes of A.K. Savrasov. Ri sunok in the work of Shishkin. Lyricism and subtle nuances of mood in the landscapes of F.A. Vasiliev. Coloristic solutions of landscapes by A.I. Kuindzhi. The intimacy of the landscape, the development of the open air in the work of V.D. Polenov.

Creativity I.I. Levitan is the pinnacle of the development of the Russian national landscape. The transfer of the mood and feelings of a person in the nature of the depicted nature. Composition and coloring of works. The value of Levitan's work for the development of Russian art.

Number of hours: 2.

Topic 42. Historical and battle painting.

Creativity N.N. Ge. The anti-war, accusatory nature of the paintings by V.V. Faith shagin. The epic-fabulous nature of the images of V.M. Vasnetsov.

Number of hours: 2.

Subject 43. Creativity V.I. Surikov.

IN AND. Surikov is a great Russian historical painter. Glorification of the heroism of the Russian people. Compositional and coloristic skill of the artist. The historical significance of Surikov's work.

Number of hours: 2.

Topic 44. Russian art of the late 19th- early 20th century

The intensity and versatility of the artistic life of Russia during this period.

Creativity V.A. Serov - the great Russian portrait painter. Coloristic mastery and innovation of painting techniques in early works. Sharpness of psychological and social characteristics in portraits. Serov is a graphic artist.

K.A. Korovin. Still lifes Korovin. Impressionist tendencies in his work.

Creativity M.A. Vrubel. Picturesque skill, increased emotionality of images, individual interpretation of volume and colorful range. Fantastic images of Vrubel. The development of realistic traditions in the work of B.M. Kustodieva; creation of a portrait of "Russian types". Realistic traditions in the landscapes of K.F. Yuon.

Association of Artists "World of Art". Appeal to the history of Russian art. Works by A.N. Benois, M.V. Dobuzhinsky, L.S. Bakst as stage and graphic artists. The work of N.K. Roerich. The contribution of the "World of Art" to the development of Russian culture.

Associations "Jack of Diamonds" and "Blue Rose". New in the painting system of their artists. Early work of I.I. Mashkova, P.P. Konchalovsky, P.V. Kuznetsova and M.S. Saryan. "Union of Russian Artists". historical sculpture; M.M. Antokolsky.

The revolutionary theme in the work of sculptors A.S. Golubkina and O.T. Konenkov.

Art Nouveau style in Russian architecture at the beginning of the 20th century.

Significance of Russian realistic art for the formation and development of the art of socialist realism.

Number of hours: 5.

Topic 45. Repetition.

Repetition of the 3rd grade. The main styles and trends in Russian art of the 18th-20th centuries Creativity of individual artists. The main associations of artists and their goals.

Number of hours: 2.

4th grade

Topic 46. Art of the period of the October Revolution

The rise of propaganda mass art. "Windows of satire ROSTA". Posters M.M. Cheremnykh and V.V. Mayakovsky. Creativity D.S. Moora and V.N. Denis. Campaign porcelain. The revolutionary pathos of the works of V.M. Kustodieva, K.F. Yuona, A.A. Rylov.

Number of hours: 4.

Topic 47. Art of the 20s

Competition of creative groups and directions (AHRR, OST, "Four Arts", OMX, etc.). Variety of creative searches.

The meaning of the easel painting. Creativity M. V. Grekov. Creativity of K. S. Petrov-Vodkin, A.A. Deineka. The birth of the Soviet industrial landscape. Still life you I.I. Mashkova, K.S. Petrov-Vodkin.

The development of painting in the national republics.

Book and easel engraving of the 20s. The works of M.V. Dobuzhinsky, V.A. Favorsky, A.P. Ostroumova-Lebedeva, A.I. Kravchenko, P. V. Miturich.

Appeal of Soviet sculpture to the images of working people: works by I.D. Shadra. Monumental sculpture: I.D. Shadr, A.T. Matveev, S.D. Merkurov.

Number of hours: 4.

Topic 48. Art of the 30s

Reflection of the life of the Soviet people in the work of A.A. Deineki, A.A. Plastova, K.N. Istomin. The theme of sport in the work of A.A. Deineki, A.N. Samokhvalova. The rise of portraiture. Creation of M.V. Nesterov gallery of portraits of the Soviet intelligentsia. Portrait works by P.D. Korina.

The development of landscape painting. Urban landscape Yu.I. Pimenov. Landscapes N.P. Krymov. Still life in the works of I.I. Mashkov, P. P. Konchalovsky.

The leading value of realistic book illustration. V.A. Favorsky, E.A. Kibrik.

The rise of monumental sculpture. Sculptural group of V.I. Mukhina "Worker and Collective Farm Woman" for the Soviet pavilion at the World Exhibition in Paris (1937). Portrait works by V.I. Mukhina, S.D. Lebedeva.

Construction of the Moscow metro. Urban architecture of the capital.

Number of hours: 4.

Topic 49. Art during the Great Patriotic War

The image of the heroic Soviet people in art. Great mobilizing role of posters and political cartoons. Posters I.M. Toidze, V.B. Koretsky. "Windows TASS". Works of Kukryniksy. Graphic series by D.A. Shmarinov and A.F. Pakhomov.

Reflection of the mass heroism of the people in painting.

Number of hours: 6.

Topic 50. Art of the late 40s - early 80s

Appeal to the themes of the past war. The theme of the struggle for peace as one of the central in Soviet art. Reflection of the creative labor of the Soviet people. T.N. Yablonskaya, A.A. Plastov, S.A. Chui kov. Creativity V.E. Popkova, T.T. Salakhova. Portrait as the creation of a generalizing image of a contemporary. The defining role of the epic landscape. The development of the industrial landscape. The works of G.G. Nissky, M.S. Saryan. City landscape: Yu.I. Pimenov. Solving creative problems in the field of monumental and portrait sculpture. Monument to the Liberator Warrior in Treptow Park in Berlin, the memorial complex of Mamayev Kurgan in Volgograd (E.V. Vuchetich). Illustrations by V.A. Favorsky to "The Tale of Igor's Campaign", "Boris Godunov" and "Little Tragedies" by A. S. Pushkin. Mass construction after the end of the Great Patriotic War. The struggle for architecture that meets modern social, technical and aesthetic requirements: Luzhniki, the Pioneer Palace, the Kremlin Palace of Congresses, the Olympic complexes in Moscow.

Number of hours: 12.

The revival of arts and crafts. Lacquer miniature: Palekh, Mstera, Fedoskino. Khokhloma painting. Bone carving and horn products. Bogorodskaya toy and sculpture. Hutsul woodcarving. Ceramics. Gzhel artel of artistic ceramics. Estonian, Latvian ceramics. Pottery from the village of Valkhar in Dagestan. Embroidery, lace, carpet weaving. Russian, Ukrainian, Belarusian, Latvian, Chuvash embroidery. Vologda laces. Carpets of Turkmenistan, Dagestan, Ukraine; Kazakh and Kirghiz felts. Art industry and technical aesthetics. Participation of artists in the production of textiles, wallpapers, furniture, consumer goods from porcelain, glass, metal, plastics. The role of the artist in the design of means of transport, radio equipment, household items, etc.

Number of hours: 3.

Topic 52. Repetition.

The final repetition of all material for 4 years of study.

Number of hours: 3.

The student must:

Know the types and genres of fine art;

Know the main stages in the development of art;

Know the most famous works of outstanding artists and sculptors;

Have the skills to analyze a single work;

Understand the figurative originality of modern architecture, in contrast to the architecture of past eras;

To be able to capture the stylistic unity in the works of different types of fine arts;

To be able to distinguish the individual "handwriting" of the artist;

To be able to identify the means of expression used by the artist, and to understand what significance they have for revealing the content of the work and for expressing the artist's attitude to the phenomenon depicted;

Have ideas about art as an integral part of the cultural heritage of mankind;

Have skills in working with art books.

For teachers:

General history of art. T 1-6., M .: Art, 1956, 1966.

Dmitrieva N.A. Brief history of art., M.: Art. issue 1-2, 1985-1973.

For students:

Orlovsky G.I. Learn to look and see., M: Enlightenment, 1984.

Polunina V.N. Art and children. M.: Education, 1982.

Masters of Art about Art. T. 1-9. Moscow: Art, 1970-1977.

For parents:

Aesthetic education of schoolchildren. / Ed. A.I. Burov and B.T. Likhachev. Moscow: Pedagogy, 1974.

Alekseeva V.V. What is art?. M: Soviet artist. Issue. 1-2., 1973-1973.

Municipal educational institution

additional education Zherdevskaya children's art school

APPROVE:

Director MBOUDOZHerdevskaya Children's Art School

Pozdnyakova M.E.

Order No. __ dated “____” ______ 2018.

Subject Program :

"History of Fine Arts"

TO THE ADDITIONAL GENERAL DEVELOPMENT PROGRAM

IN THE FINE ARTS

« Fundamentals of Fine Arts »

Implementation period is 3 years.

Zherdevka

2018

Protocol No. _____ dated

"_____" ________ 2018

Approved by the pedagogical council

MBOUDO Zherdevskaya Children's Art School

Protocol No. dated

"____" _______ 2018

Developer - teacher MBOUDO Zherdevskaya Children's School of Art Gavrilova M. A.

The structure of the curriculum of the subject

Explanatory note

Educational and thematic planning

Requirements for the level of training of students

Forms and methods of control, grading system

Methodological support of the educational process

Means of education

List of methodical literature

Annex 1.

I . EXPLANATORY NOTE

The following normative documents served as the basis for the development of this program in the subject "History of Fine Arts": methodological recommendations for teachers of children's art schools and art departments of children's art schools compiled by Yu.N. and encyclopedic dictionaries "Culturology", "Aesthetics" author Bachinin V.A.-St.

Petersburg 2005.

The course is designed for students of children's art schools and includes four years of study. It is important to remember that the art history course is indirectly connected with other disciplines studied in the art school and art schools. He has his own specific goals - to develop artistic perception in students, to cultivate artistic taste. To instill the skills of analyzing works of art, to form ideas about the main stages in the development of art and about the main artistic tasks at each stage of its development. This course must be taken into account and linked to the experience of visual activity of students.

Based on these goals, the teaching methodology for the course "History of Fine Arts" is aimed at solving the following main tasks: by special pedagogical means, it is purposeful to develop the artistic and creative abilities of students, their interest in art, emotional responsiveness to aesthetic aspects in the phenomena of reality and art, the ability to aesthetically evaluate art phenomena. Solving these problems can largely

promote problem-based learning methodology.

In the process of conducting the subject "History of Fine Arts", the teacher should try, as often as possible, to introduce students to genuine works of art. In this regard, whenever possible, pay constant attention to extracurricular activities:

visits to museums, exhibitions, art workshops, art craft enterprises, excursions and monuments of architecture and sculpture. Performance is assessed on the basis of observations of the current work of students in workbooks (albums), sketches of diagrams, and an oral survey on theory.

Program goals. .

1. Formation of the motivational and emotional-value sphere

students with a sustainable interest in visual activity and emotional comfort of learning.

2. Achievement of a sufficient level of assimilation of special knowledge, practical skills in the matter of learning the history of fine arts.

3. Expansion of the basic culture of the individual through the further formation of certain socially significant qualities, developed views and beliefs.

4. Assimilation of social experience of emotional-value relations and personality relations through social interaction of participants in the educational process.

5. Prevention of antisocial behavior.

6. Formation of stable substructures of self-consciousness and development of self-knowledge of the individual through the organization of educational activities of a new quality, activating the cognitive abilities of the child.

The objectives of the educational program.

The basis for studying the history of fine arts is the development of skills in the perception of an artistic image. Hence the main educational task is the development of artistic perception in students. Solving this problem, the teacher is obliged to take care of the general humanitarian and artistic erudition of his students. Erudition should develop under the condition of interest in art.

This educational program hasartistic and aesthetic orientation because it is aimed at developing children's artistic and aesthetic taste, artistic abilities and inclinations to study the history of art, creativity, emotional perception and figurative thinking, preparing the individual to comprehend the big world of art and recreate the sensory image of the perceived world.

Novelty of this educational program lies in the enduring value of studying the history of world culture, which affects the level of art education and the disclosure of the creative potential of children.

The term for the implementation of the subject

When implementing the program of the subject "History of Fine Arts" with a term of study of 3 years, the duration of studies from the first to the fourth years of study is 34 weeks per year.

Information about the cost of study time

Cost of study time

Total hours

years of education

1st year

2nd year

3-year

half a year

Number of weeks

The amount of study time provided for by the curriculum

educational organization for the implementation of the subject

The maximum teaching load of the subject "History of Fine Arts" with a 3-year term of study is 102 hours. Classes from 1st to 3rd grades are held once a week for 1 academic hour 45 minutes.

Form of conducting training sessions

Classes are held in group form. From 10 people

The purpose of the subject

The purpose of the program is the acquisition of the necessary knowledge in the field of the history of fine arts, the development of skills in the perception of an artistic image, the general humanitarian and artistic erudition of students.

Objectives of the subject

The main objectives of the program are as follows:

Educational: purposeful development of students' creative abilities, their cognitive and emotional activity. To give an idea of ​​the development of art, both throughout history and within one era, considering each phenomenon of art in connection with the specific historical situation in which it arose, developing the skills of analyzing a work of art, comprehending by students the spiritual experience of mankind through cognition of the progressive development of art as a whole.

Developing: development of independence of students' judgments about the works they have seen, development of skills for perceiving an artistic image: purposeful development of students' creative abilities of their cognitive and emotional activity.

Educational: Education in students of responsiveness to the ideological and aesthetic impact of art, to the unity of the content and form of the work.

Program structure

The program contains the following sections:

Information on the cost of study time provided for the development of a subject;

Distribution of educational material by years of study;

Description of the didactic units of the subject;

Requirements for the level of preparation of students;

Forms and methods of control, grading system, final certification;

Methodological support of the educational process.

In accordance with these directions, the main section of the program "Subject content" is being built.

Teaching methods

To achieve the set goal and implement the objectives of the subject, the following teaching methods are used:

Verbal (explanation, conversation, story);

visual (use of reproduction material stored in the methodological folder of the department, showing popular science films, viewing disks containing photographs of paintings by artists and images of stylistic trends in the types of fine arts), didactic cards with reproductions pasted in small format), verbal, problem-search, scientific (use of tests, tables, cards of an individual survey).

Description of the material and technical conditions for the implementation of the subject

Each student is provided with access to library funds and funds of audio and video recordings of the school library. During independent work, students can use the Internet to collect

additional material on the study of the proposed topics, the use of Internet resources involves an independent study of a certain era, the personality of the artist, his heritage.

The library fund is completed with printed, electronic editions, educational and methodical literature.

Expected (projected) results.

1. A steady interest of students in visual arts has been formed, characterized by a positive emotional upsurge and an appropriate quality of education.

2. The basic culture of the individual has been expanded and the ground has been prepared for the further dynamic formation of certain socially significant qualities of the child - citizenship, patriotism, responsibility and tolerance.

3. The basics of moral culture and generally accepted norms of human morality are instilled with the formation of the foundations of aesthetic culture.

4. The positive interaction of the child with a peer is activated -

we and adults, reflected in its behavioral functions.

5. Cases of asocial behavior of students are leveled.

6. An impetus was given to the formation of some stable substructures of self-consciousness and the development of self-knowledge of the individual through the organization of educational activities of a new quality, activating the cognitive abilities of the child.

7. Provided some assistance to students in self-determination, self-realization and self-affirmation of personality, development of an individual artistic style in the process of creative development of art history.

8. The process of formation in children of valeological ideas about a healthy lifestyle has been launched.

9. The creative abilities of students, reflected in the products of their visual activity, are revealed.

II . SUBJECT CONTENT

1 class:

Topic1:

What is art. Art and nature, art and society, art and science, art and culture, the role of art in the organization of the environment. Why study art history? specificity of fine arts. Origin of art. The first artists of the Earth. Interesting stones - megaliths. Foci of primitive culture in Russia. Rock carvings on the banks of the Angara, Lake Ladoga. Kapova cave in the Urals. The emergence of sculpture. Megalithic structures: menhirs, cromlechs, dolmens.

Painting and its genres - a general overview. An artistic image is a specific form of reflection of reality in a concrete-sensitive, visually perceived form. Varieties of paints: watercolor, gouache, oil, tempera. Landscape in art. I. Levitan "Evening bells". Still life in the history of painting. Portrait. 50 best male portraits. The origin of everyday genre in art.

Mother as a symbol of the miraculous in the art of the past and the present. The miracle of the birth of a child in painting and sculpture. Storytelling artists. Creativity V. Bilibin.

Cross-domed church of the 12th century. Hagia Sophia in Kyiv. Architecture of Veliky Novgorod. Architecture of the Vladimir-Suzdal Principality. Moscow Kremlin. There are 5 ensembles on the territory of the Kremlin: Assumption, Arkhangelsk, Annunciation Cathedrals; Palace of Facets, Ivan the Great Bell Tower. Wooden architecture in Rus'. Fine art of Ancient Rus'.

Folk crafts of Russia. Khokhloma. Khokhloma painting as an inexhaustible source of inspiration for the Russian people. Zhostovo. Zhostovo painting. Technique depicting flowers on Zhostovo trays. Gorodets. Multi-colored pictures from the life of people, plants and animals. Polkhovsky Maidan and its painting. Gzhel. How did Gzhel painting originate? The art of painting in one color. Palekh of his traditions. Dymkovo clay toy. Traditions and modern trends. Filimonovsky clay whistles. Bogorodsk wooden toy. Matryoshka. Woodcarving. Ornament of Russian folk embroidery. Satin stitch and cross stitch. Modern trends and the revival of the art of cross-stitch.

History of Russian folk costume. Everyday and formal attire of Russian women. Traditions of central Russia and the Tambov region. Wedding folk costume of the 18th-19th centuries.

Grade 2:

Types of visual human activity . Painting, its technical and visual means. Graphics, its technical and visual means. Genres in art, their appearance and distribution. Types of genres - displaying the diversity of human life. Control work. Terms in drawing and painting.

An engraving of its technology and significance. Variety of types of engravings, their features. Sculpture, its types and visual possibilities. Folk art, its breadth and imagery. Decorative and applied art, its diversity. Architecture, its historical styles. History of the Tambov Art Museum. Control work on the topic covered: types of creative activity.

The evolution of the art of the ancient world. The monumental nature of the art of the ancient world. The leading role of architecture and sculpture in the art of the ancient world. Evolution of types of tombs: mastaba, step pyramid, rock tomb. The specific nature of the image in the relief and painting of Ancient Egypt; flatness, narrative, frieze articulation of the plane, scale of figures. The architecture of ancient Egypt and the power of its influence. Basic principles of composition of Egyptian temples. Mortuary temple of Khafre, temples in Karnak, Luxon, Abu Simbel.

Historical and social conditions for the formation, flourishing and decline of ancient Greek civilization. Black-figure and red-figure vase painting. Ensemble of the Athenian Acropolis as the highest point in the development of the classical art of Ancient Greece. The importance of the acropolis in the life of Athens. The evolution of ancient Greek sculpture. The art of high classics. The leading role of democratic Athens. High humanism and realism of art. Creation of a harmonious beautiful image of a free man Miron - "Discobolus", Poliklet "Dorifor". late classic. Realistic searches in sculpture: Skopas - "Maenad", Praxiteles - "Hermes with Dionysus", Lysippus - "Apoxiomen", Hellenism. The revival of monumental heroic art: "Nike of Samothrace". Continuation of the traditions of high classics: Agesander (?) - "Aphrodite of Milo".

Traditions perceived by the art of ancient Rome and the originality of ancient Roman art. The contribution of the Romans to the history of architecture and the variety of types of architectural structures in ancient Rome (forums, basilicas, domed buildings, baths, aqueducts, viaducts, triumphal arches, theaters, amphitheaters). The evolution of the ancient Roman portrait, its realism, psychologism (sculptural portraits of ancestors).

Topic 6: Art of Byzantium.

The desire of Byzantine art to reproduce a holistic picture of the world. Church of St. Sofia (construction, interior). The splendor of the mosaic ensembles of Ravenna. The power of the emotional impact of the monumental art of Byzantium. The Canon in Byzantine Painting as a Reflection of the Inviolability of the Christian Idea. Magnificent mosaic ensembles of Ravenna. The power of the emotional impact of the monumental art of Byzantium.

3rd grade:

Topic 1: Art of ancient Rus'.

Diversity and richness of the artistic heritage of Ancient Rus'. Religious buildings: pagan sanctuaries, idols. Household items, jewelry, ornaments. Slavic art. Cultural ties with Byzantium. Wooden architecture of Ancient Rus'. Sophia of Kiev is a symbol of the power and greatness of the Kyiv state. Architectural composition of Kievan Sophia, the main cathedral of Kievan Rus. Feudal fragmentation of Ancient Rus in 12 V. The originality of the Vladimir-Suzdal art school. Harmonious connection of Russian architecture with the landscape. Church of the Intercession on the Nerl. Assumption Cathedral Dmitrievsky Cathedral in Vladimir. The symbolic meaning of the sculptural decoration. The peculiarity of social life in the Novgorod feudal republic. Novgorod Sofia. Development of the type of a small four-pillar temple. Church of the Savior on Nereditsa. Frescoes of the Savior on Nereditsa. The originality of the Novgorod schools of icon painting.

Topic 2: Old Russian painting.

The murals of Theophanes the Greek in the Church of the Transfiguration of the Savior are a masterpiece of medieval painting. Internal dramatic intensity of the images of F. Grek. The value of A. Rublev's creativity for ancient Russian painting. The world of spiritual harmony and mutual love is the world of Rublev's works. The perfection of the composition and color system of the Trinity.

Features of Russian wooden architecture. Churches: Nikolskaya Panilovo, Intercession at Fili Znamenija in Dubrovitsy. Baroque trends in Russian architecture of the late 17th century. A complex of wooden structures on the island of Kizhi.

Topic 4: The birth of Russian secular painting.

The new character of the image in the icons of the 17th century. Stroganov school. The Significance of Simon Ushakov as an Artist of the Transitional Time. Parsuna as a reflection of secular and realistic tendencies in Russian painting of the 17th century. Repetition of the material covered: from the painting of Theophan the Greek to the parsuna of S. Ushakov.

The historical significance of the reforms of Peter 1, which accelerated the transition from medieval religious forms of spiritual life to secular culture and science. Petersburg is the first city in Russia built according to a preliminary plan. Works of foreign masters in Russia and the decisive role of Russian national traditions in their work. D. Trezzini.

Topic 6: Baroque SculptureXVIII V.

The development of a realistic portrait in Russian sculpture. The image of Peter 1 in the works of B.K. Rastrelli. National originality of Russian baroque. The sharpness and objectivity of the social characteristics of the images of F.I.Shubin - a master of realistic sculptural portrait. Portraits of M. Lomonosov, A. M. Golitsyn, Paul 1, unknown. The Catherine Palace in Tsarskoye Selo, the Winter Palace and the Smolny Monastery in St. Petersburg. Creativity F. B. Rastrelli - the heyday of Russian baroque. The sublime pathos of Russian sculpture of the 18th century. As a reflection of the triumph of human reason, moral human dignity. Monument to Peter 1 E. Falcone.

The development of a realistic portrait in Russian painting of the 18th century is a manifestation of influence on the individual, the inner world of a person: the work of V. Antropov. A new idea of ​​the human personality. Portrait of Struysky, Maykov. The combination in portraits of solemnity with everyday motives. Ease of transferring the texture of the material. Portraits: "Smolyanok", Ekaterina, Koko-rinova. The triumph of harmony and reason in the classical buildings of Russian architects. Pashkov House, Senate building, Taurida Palace. Portrait of Catherine II, portraits of Arsenyeva and Lopukhina.

Topic 8: Architecture, sculpture, early classicism paintingXIX V.

Kazan Cathedral, Admiralty - the highest achievement of Russian classicism. The work of S.F. Shchedrin is an alloy of features of classicism and romanticism. Interest in the problems of the open air. Patriotic pathos of monumental sculptures "Monument to A.V. Suvorov". Excursion to the Tambov Art Museum.

3. EDUCATIONAL AND THEME PLANNING

1 class:

1.

Topic 1: Beauty in life and in works of fine art.

Topic 2: Types of fine arts.

Topic 3: Maternal love and tenderness in the work of artists.

Topic 4: The main art museums in Russia.

Topic 5: Russian folk arts and crafts.

Topic 6: Russian folk traditional costume.

Grade 2:

Topic 1: Types of human creative activity.

Topic 2: Engraving and sculpture in the visual arts.

Topic 3: Art of Ancient Egypt.

Topic 4: Art of Ancient Greece.

Topic 5: Art of Ancient Rome.

Topic 6: Art of Byzantium.

3rd grade:

Topic 3: Wooden architecture of Rus'.

Topic 4: The birth of Russian secular painting.

Topic 5: Construction of St. Petersburg.

Topic 6: Baroque SculptureXVIII V.

Topic 7: Development of the Russian portrait school.

Topic 8: Architecture, sculpture, early classicism paintingXIX

IV . REQUIREMENTS FOR THE LEVEL OF TRAINING OF STUDENTS

First year of study

The result of mastering the 1st grade program in the subject is the acquisition by students of the following knowledge:

what is art, its origin and evolution;

types of fine arts;

maternal love and tenderness in the work of artists;

the main art museums of Russia;

Russian folk arts and crafts;

Russian folk traditional costume.

the art of Ancient Egypt, Ancient Greece, Ancient Rome, Byzantium;

Romanesque art of the 10th-12th centuries, Gothic art of the 12th-14th centuries, Renaissance art in Italy and Northern Europe.

Second year of study

The result of mastering the 2nd grade drawing program is the acquisition by students of the following knowledge:

Types of human creative activity, types of visual human activity;

Engraving, sculpture and architecture in the visual arts;

Features of ancient art;

Features and traditions of the art of Ancient Egypt;

Art of Ancient Greece;

Features of the art of ancient Rome;

Monumental art of Byzantium.

Third year of study

The result of mastering the 3rd grade program is the acquisition by students of the following knowledge:

Art of ancient Rus'.

Old Russian painting.

Wooden architecture of Rus'.

The birth of Russian secular painting.

Petersburg construction.

baroque sculptureXVIII V.

The development of the Russian portrait school.

Architecture, sculpture, painting of early classicismXIX V.

V . FORMS AND METHODS OF CONTROL, ASSESSMENT SYSTEM

During the training, current control is carried out in the form of an oral survey.

Intermediate certification takes place in the 2nd, 4th half of the year in the form of testing on the material covered during the year.

final examination takes place in the form of an exam in the 6th half of the year:tasks include exam tickets with 2 theoretical questions on all the material studied and a practical task in the form of a series of tasks to determine the author of a work, the era in which it was written, to select paintings by one author from a presented set of different paintings, to identify a fragment of famous paintings, a quick analysis with a short preparation for an answer after testing.

Criteria for evaluation

When evaluating a student in the history of fine arts, the following should be considered:

Knowledge and orientation in genres, types of art, the ability to competently and meaningfully convey to the listener the knowledge gained in the history of fine art, mastering the perception of works of fine art, achieving functional literacy necessary for continuing and studying in secondary and higher educational institutions, have a complete understanding of the styles and genres of fine art;

the formation of a sustainable interest in the fine arts,

mastering practical skills and abilities in various forms

visual activity: drawing, painting, composition, sculpture;

the degree of advancement of the student, the success of personal achievements.

Rating 5 "excellent"

Able to compare different views on the phenomenon.

Expresses and justifies his point of view.

Shows the ability to think logically and consistently, draw conclusions and generalizations, competently and literally state the answer to the question posed.

All practical work was done with high quality and accuracy.

Notebook entries are kept neatly and consistently.

Rating 4 "good"

Easily orientated in the studied material.

Shows independence of judgment.

Competently states the answer to the question posed, but in the answer he admits inaccuracies, does not fully cover the question.

Practical work has not been done very well.

There are some minor errors in the notebook.

Grade 3 "satisfactory"

The main question reveals, but makes minor mistakes, does not show the ability to think logically.

The answer is mostly reproductive.

Practical work was performed unaesthetically, carelessly, with errors.

Notebook entries are carelessly and unsystematically.

VI . METHODOLOGICAL SUPPORT OF THE EDUCATIONAL PROCESS

The necessary conditions for the successful implementation of this program are: the presence of study groups, a study room (office), spacious, bright, well-ventilated, study furniture (tables, chairs), teaching aids for students, methodological literature for the teacher, video-audio aids, didactic handout, TSO: board,DVD, TV, laptop with Internet connection, materials (notebook, pen, pencil).

At the beginning of each topic, an introductory lesson is given, the content of which makes it possible to get acquainted with general questions that highlight the features of the development of the historical stage or style being studied.

Students are offered an acquaintance with a work of art based on listening and visual perception. Training is carried out in two types - a theoretical part and a practical one - a repetition of the material covered. After the passage of the topic, control work is carried out.

Of great importance for the creative mastery of the subject are student notebooks, which reflect independent work as part of the course. Notebooks should be systematically checked by the teacher.

VII . BIBLIOGRAPHY.

1. General history of art. T 1-6., M .: Art, 1956, 1966.

2. Dmitrieva N.A. Brief history of art., M .: Art, no. 1-2, 1985-1973.

3. Orlovsky G.I. Learn to look and see., M: Enlightenment, 1984.

4. Polunina V.N. Art and children. M.: Education, 1982.

5.Masters of art about art. T. 1-9. Moscow: Art, 1970-1977.

6. Aesthetic education of schoolchildren. / Ed. A.I. Burov and B.T. Likhachev. Moscow: Pedagogy, 1974.

7. Alekseeva V.V. What is art?. M: Soviet artist. Issue. 1-2., 1973-1973.

8. Encyclopedia "Art", from-in "Astrel", M. 2003.

Annex 1.

CALENDAR AND THEME PLANNING in art history

FOR 1 CLASS:

p/p

Lesson topic

Number of hours

date

Beautiful in life and in works of fine art.

The first artists of the Earth.

Interesting stones - megaliths.

Types of fine arts.

Painting and its genres - a general overview.

Scenery. "Evening bells" I. Levtan.

Still life in the history of painting.

Portrait. 50 best male portraits.

household genre.

The theme of maternal love and tenderness in the work of artists.

Artists are storytellers. V. Bilibin.

The main art museums of Russia.

Cross-domed church of the 12th century.

Hagia Sophia in Kyiv.

Architecture of Veliky Novgorod.

Architecture of the Vladimir-Suzdal Principality.

Moscow Kremlin and its architecture.

Wooden architecture. Monuments Dr. Rus'.

Fine art of Ancient Rus'.

Russian folk art.

Khokhloma.

Zhostovo.

Gorodets.

Polkhovsky Maidan.

Gzhel.

Palekh.

Dymkovo clay toy.

Filimonovsky clay whistles.

Bogorodsk wooden toy.

Matryoshka.

Woodcarving.

Ornament of Russian folk embroidery.

Russian folk costume.

Wedding folk costume.

CALENDAR AND THEME PLANNING in art history FOR 2nd CLASS:

p/p

Topic name

Number of hours

Prov date

Types of human creative activity.

Types of visual human activity.

Painting, its technical and visual means.

Graphics, its technical and visual means.

Genres in art, their appearance and distribution.

Types of genres - a reflection of the diversity of human life.

Test. Terms in drawing and painting.

An engraving of its technology and significance.

Variety of types of engravings, their features.

Sculpture, its types and visual possibilities.

Folk art, its breadth and imagery.

Decorative and applied art, its diversity.

Architecture, its historical styles.

History of the Tambov Art Museum.

Control work on the topic covered: types of creative activity.

The art of primitive society. Cave paintings.

The art of primitive society.

Art of Ancient Egypt. Pyramid Mysteries.

Paintings of Ancient Egypt. Canons of the image of man.

Temple architecture of ancient Egypt.

"Revolutionary Transformations in Amarna Art".

Repetition of the material covered: from the art of primitive society to the art of Amarna.

Archaic art of Ancient Greece. vase painting.

Complex of the Athenian Acropolis.

Sculpture of high classics. Myron, Phidias Poliklet.

Sculpture of the late classic. Scopas, Praxiteles, Lysippos.

Hellenistic art. Wealth of Alexandria.

Repetition of the material covered: from the art of ancient Greece to the art of Hellenism. Comparison of two cultures.

Architecture of Ancient Rome. The invention of concrete.

Forums are gigantic projects of the Roman emperors.

Sculpture of ancient Rome. Realism of images.

Art of Byzantium. Church of St. Sophia in Constantinople.

Mosaics of Ravenna. Smalta, its uniqueness.

Repetition of the material covered.

CALENDAR AND THEME PLANNING in art history FOR 3rd CLASS:

p/p

Topic name

Number of hours

Prov date

The art of ancient Rus', its connection with the traditions of Byzantium.

Architecture of Kievan RusXIV. Church of St. Sophia in Kyiv.

Architecture Vladimir - Suzdal Principality. Golden Gate.

G . Vladimir. Church of the Intercession on the Nerl River.

Architecture of Novgorod. Church of St. Sofia.

The originality of the Novgorod schools of icon painting.

Repetition of themes in a comparison of two architectural schools.

Iconographic traditions of Rus'. Technology and canons icons.

Painting by Theophanes the Greek - traditions of the Byzantine school.

Monumental and easel painting by A. Rublev "Trinity".

The value of A. Rublev's creativity for Russian painting.

Wooden architecture of Rus'.

Architectural Museum-Reserve "Kizhi"

The birth of Russian secular painting. Parsing.

Repetition of themes: from the painting of Theophan the Greek to the parsuna of S. Ushakov.

Municipal budgetary educational institution

additional education for children "Children's School of Arts"

Ust - Kutsk municipality

Educational program in the subject

« Fine art history»

FOR STUDENTS1-2-3-4 GRADES

(IMPLEMENTATION TERM 4 YEARS)
Model Program in Fine Art History

for children's art school and children's art school

Protopopova Yu.N. Moscow 1998.
Ust-Kut, 2003

I. Explanatory note

The teaching of the history of fine arts is aimed at the comprehensive harmonious development of the personality of students, the formation of their worldview, moral and aesthetic ideal, and the cultivation of a culture of feelings. This working educational program is compiled on the basis of a typical program for children's art schools and children's art schools (art departments) by the author Yu.N. Protopopov "History of Fine Arts".

One of the main objectives of the course is the students' comprehension of the spiritual experience of mankind through the study of the history of art.

The main educational task is the development of artistic perception in students. Solving this problem, the teacher is obliged to take care of the general humanitarian and artistic erudition of his pupils. Students should develop the skills to analyze a work of art. Giving an idea of ​​the development of art, both throughout history and within one era, the teacher needs to consider each phenomenon of art in connection with the specific historical situation in which it arose.

This work program has artistic and aesthetic orientation and includes art education and general visual education based on the established traditional methodology for teaching art history.

Relevance of the program lies in its timeliness, with the modern rapidly increasing flow of information, knowledge on the history of art is mostly sketchy and spontaneous. The methodology of the lesson should be aimed at solving the main tasks: the purposeful development of the creative abilities of students, their cognitive and emotional activity. Pedagogical expediency The program consists in the development of student activity, a deeper and more specialized study of the history of art, the program material can be expanded in optional classes.

Students' notebooks are of great importance for the creative mastery of the subject. They reflect the independent work of students both within the course and outside it. Notebooks should be systematically checked by the teacher.

When conducting classes in the history of fine arts, it is necessary to make extensive use of technical teaching aids. They expand the range of the teacher's capabilities, in particular, in creating and revealing problem situations, implementing interdisciplinary connections (comparing works of fine art with works of literature, music, cinema, etc.).

A distinctive feature of the program lies in the orientation of the program to the contingent of students in a given school, in the possibility of including modern computer technologies in the lesson process.
The term for the implementation of the subject

When implementing the program of the subject "History of Fine Arts" with a term of study of 4 years, the duration of studies from the first to the fourth years of study is 34 weeks per year.

Information about the cost of study time

Type of study work, load, certification	Cost of study time								Total hours
years of education	1st year		2nd year		3-year		4th year
half a year	1	2	3	4	5	6	7	8
Number of weeks	16	18	16	18	16	18	16	18	34
48	54	48	54	64	72	64	72	476

The amount of study time provided for by the curriculum

educational organization for the implementation of the subject

The total labor intensity of the subject "History of Fine Arts" with a 4-year term of study is 176 hours. Classes from 1st to 4th grades are held once a week.

Form of conducting training sessions

Classes are held in group form.

The purpose of the subject

The purpose of the program is The acquisition of the necessary knowledge in the field of the history of fine arts, the development of skills in the perception of an artistic image, the general humanitarian and artistic erudition of students.
Objectives of the subject

The main objectives of the program are as follows:

Educational: purposeful development of students' creative abilities, their cognitive and emotional activity. To give an idea of ​​the development of art, both throughout history and within one era, considering each phenomenon of art in connection with the specific historical situation in which it arose, developing the skills of analyzing a work of art, comprehending by students the spiritual experience of mankind through cognition of the progressive development of art as a whole.

Developing: development of independence of students' judgments about the works they have seen, development of skills for perceiving an artistic image : purposeful development of students' creative abilities of their cognitive and emotional activity.

Educational: Education in students of responsiveness to the ideological and aesthetic impact of art, to the unity of the content and form of the work.
Program structure

The program contains the following sections:

Information on the cost of study time provided for the development of a subject;

Distribution of educational material by years of study;

Description of the didactic units of the subject;

Requirements for the level of preparation of students;

Forms and methods of control, grading system, final certification;

Methodological support of the educational process.

In accordance with these directions, the main section of the program "Subject content" is being built.

Teaching methods

To achieve the set goal and implement the objectives of the subject, the following teaching methods are used:

Verbal (explanation, conversation, story);

Visual (use of reproduction material stored in the methodological folder of the department, showing popular science films, viewing disks containing photographs of paintings by artists and images of stylistic trends in the types of fine arts), didactic cards with reproductions pasted in small format), verbal, problem-search, scientific (using tests, tables, cards of an individual survey).

Description of the material and technical conditions for the implementation of the subject

Each student is provided with access to library funds and funds of audio and video recordings of the school library. During independent work, students can use the Internet to collect

additional material on the study of the proposed topics, the use of Internet resources involves an independent study of a certain era, the personality of the artist, his heritage.

The library fund is completed with printed, electronic editions, educational and methodical literature.
II. SUBJECT CONTENT

Educational and thematic plan

First year of study

№№	Topics and content of classes	Qty hours
	Introduction	2
	PartI. History of foreign fine arts
	Chapter1 . Art of the ancient world.
1	Art of primitive society	2
2	Art of Ancient Egypt	5
3	Art of Ancient Greece	7
4	Art of Ancient Rome	2
	Chapter2 . Art of Byzantium	2
	Section 3 Art of Western Europe 10-14 centuries.
5	Romanesque art 10-12 centuries	2
6	Gothic art 12-14 centuries.	2
	Section 4 Art of Western Europe 14-20 centuries.
7	Renaissance art in Italy	7
8	Renaissance Art in Northern Europe	1
	Repetition	2
	Total:	34

Second year of study

№№	Topics and content of classes	Qty hours
9	Art of Italy in the 17th century.	1
10	Art of Spain in the 17th century.	1
11	Art of Flanders 17th century.	2
12	The art of Holland in the 17th century	4
13	Art of France 17th century.	1
14	French art of the 18th century	1
15	Art of the era of the great French bourgeois revolution	1
16	The art of England 18-beginning. 19th century	1
17	Art of Spain 18-beginning. 19th century	1
18	Art of revolutionary romanticism in France	1
19	The art of realism in France ser. 19th century	1
20	Impressionist art	2
21	Post-impressionist art	1
22	Characteristics of the main directions Western European art of the 20th century	2
	Repetition	1
	PartII. History of Russian fine art
	Section 5 Old Russian art
23	Art of the Ancient Slavs. Kievan Rus 11-12 centuries.	2
24	Art of the Vladimir-Suzdal Principality of the 12th century.	2
25	Art of Novgorod and Pskov 11-15 centuries. V.	2
26	Art of Moscow 14-15 centuries.	2
27	Art of Moscow 15-17 centuries.	2
	Repetition	2
	Total:	34

Third year of study

№№	Topics and content of classes	Qty hours
	Section 6 Russian art of the 18th - early 20th centuries.
28	Architecture of the first half of the 18th century.	2
29	Sculpture and painting of the first half of the 18th century.	2
30	Architecture and arts and crafts of the second half 18th century	3
31	Sculpture and painting of the second half of the 18th century.	3
32	Architecture of the first half of the 19th century.	2
33	Sculpture and painting of the first half of the 19th century.	5
34	Genre painting of the second half of the 19th century. Creativity of the Wanderers.	4
35	Creativity I.E. Repin	2
36	Landscape painting of the second half of the 19th century.	2
37	Historical and battle painting second half of the 19th century.	2
38	Creativity V.I. Surikov	2
39	Art of the late 19th-beginning. 20th century	3
	Repetition	2
	Total:	34

Fourth year of study

№№	Topics and content of classes	Qty hours
	PartIII. History of fine arts of the Soviet period.
40	Visual arts of the period of the October Revolution and the Civil War	4
41	Art of the 20s	4
42	Art of the 30s	4
43	Art of the period of the Great Patriotic War	4
44	Art of the late 40s-beginning. 80 years	12
45	Decorative and applied art of the Soviet period	3
	Repetition	3
	Total:	34
	Total for the course:	136

Annual Requirements

First year of study

The result of mastering the 1st grade drawing program is the acquisition by students of the following knowledge:

• 
  what is art, its origin and evolution;
• 
  the art of Ancient Egypt, Ancient Greece, Ancient Rome, Byzantium;
• 
  Romanesque art of the 10th-12th centuries, Gothic art of the 12th-14th centuries, Renaissance art in Italy and Northern Europe.

Second year of study

The result of mastering the 2nd grade drawing program is the acquisition by students of the following knowledge:

• 
  the art of Italy in the 17th century; the art of Spain in the 17th century, the art of Flanders in the 17th century; the art of Holland in the 17th century, the art of France in the 17th century;
• 
  the art of France in the 18th century, the art of the era of the Great French bourgeois revolution;
• 
  the art of England in the 18th-19th centuries, the art of Spain in the late 18th - early 19th centuries,
• 
  the art of revolutionary romanticism in France, the art of realism in France in the mid-19th century,
• 
  the art of impressionism, post-impressionism;
• 
  art of Kievan Rus 11-12 centuries, art of Ancient Rus' 12-17 centuries.

Third year of study

The result of mastering the 3rd grade drawing program is the acquisition by students of the following knowledge:

• 
  architecture, arts and crafts, sculpture, painting in Russia in the 18th-19th centuries.
• 
  genre, landscape, battle, historical painting;
• 
  creativity of I.E. Repin, V.I. Surikov;
• 
  Russian art of the late 19th - early 20th centuries.

Fourth year of study

The end result of mastering the drawing program is the acquisition by students of the following knowledge:

• 
  art of the period of the October Revolution;
• 
  art of the 20s, 30s
• 
  art of the WWII period;
• 
  art of the 40-80s;
• 
  decorative and applied art of the Soviet period.

Summing up takes place in the form of an exam.
1 class