Vision in literature and art. These artists draw magic worlds in which you want to get lost

The definition of black and color relations in kind is achieved by simultaneously comparison. The effectiveness of this method is due to a special vision of nature - solidity of vision, or, as artists say, "wide looking", "holistic generalized perception", "blown eye". As already noted, with the usual vision, the address in question is visible clearly and definitely in those parts where our eyes are directed.

This means that the contrast and certainty of the color, the relief of objects increases when approaching the visual center (the yellow spot on the retina, called the central pocket) and decrease when removing it. Therefore, if in the process of the picturesque image, we will constantly transfer the visual center from one object to another, then we will not define the right relationship.

The drawing should not focus on individual items, and covering the entire natural nature, immediately, comparing and noting the difference between the objects in lightness, color, relief, etc. As a result of such a generalized wide vision, the whole group of items will be perceived vague . However, in this generalized "spot" it is easier to see and determine the color difference of objects, the activity of one color and muffling, the subordination of the other, the relief of the plans.

"With a wide coverage of the visible, the artist does not peer into each point," B. V. Johanson wrote, "And he sees a generalized ... Having a look at a look at the same time, the artist suddenly notices what it is especially bright, says the right to the first voice, and the fact that barely Signs noticeably ... Due to the fact that the artist walked from the whole, he got the opportunity to compare one with another, which is deprived of the artist coming from the part ... Only by constant comparison with the unity of one-piece vision can be known as the truth of painting. "

At one time, K. A. Korovin expressed the same thought: "... not a shadow you need to take, but the ratio of all tones with the shadow. That is, to look at the same time, not to break the finest interdependence of the pictorial relationship ... Rise up the eye first gradually, then wider the eye, but in the end everything is included in the canvas, you have to see together, and then that is not exactly taken, it will be felt as incorrect notch in the orchestra. An experienced artist sees everything at the same time, as well as a good conductor hears both the violin and flute, and a fagot, and other tools. It. So to speak, the top of the skill, it is necessary to approach this gradually. "

Holistic vision and constant comparison do not allow too long to stop the view on individual subjects, insignificant details; It is necessary to be able to be distracted from a pre-famous color, see that color, those relationships in which subjects are at the time of observation.

The correct definition of visible relationships are helping various techniques. So, many artists advise at the time of observation, nice eyes, look at the items not 3 focus, but as if "past and quickly", "not to the point, and nearby" and T-D. For the same purposes, novice artists are recommended to use sometimes black Glass, mirror, viewfinder-frame, compare visible colors of nature with pure palette paints. For example, you can apply on glass or easel clean colors.

Placing the glass on the displayed items and comparing their color with clean paints on the glass, you can define the sound of nature colors. Sometimes, to determine the saturation of the color of the artists next to the subject in kind, some painted object of a similar color shade are put. These techniques allow you to more accurately determine the color of the pictures of the items.

Let us analyze some of the features of our visual perception and related mistakes encountered in schools. When the look of the drawing is aimed at the distant nature plan, all items of this plan and their details, the tone and color characteristics are visible clearly and definitely; Other items are visible weaker. If the look is directed to the objects of the second or first plan of the pictured nature, then they are clearly visible in color, relief, and the objects of distant plans, on the contrary, vague and unclear.

With separate comparison and vision of the sketch of the color stains, contrasts; It with the same thoroughness worked out the details on the entire image plane; There is no unity of optical and composite centers. Properly written ETUD is a holistic scenic image in compliance with the unity of optical and composite centers.

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Collection output:

Problems of Development of Artistic Vision

Bedin Anna Fedorovna

lecturer special disciplines,

MOU DOD "Children's Art School" №1, Astrakhan

See and see two processes in everyday life who serve as a means of orientation. I look at the trees, flowers, grass. I see a landscape that surrounds me. Using these words, we most often mean the same process that carries out the human eye, fixing any items in any place. But these words cease to be synonymous when it comes to visual art. As often, having come to the art gallery or to the exhibition hall, we are amazing the plots seen through the eyes of artists. It seemed that this simple life scene in the yard or on the next street we watched hundreds of times, but did not see all the beauty, joy, happiness shown by the artist. It does not mean to see, but for the artist between the concept of "watch" and "see" a huge difference. It is the vision that distinguishes students engaged in the visual art of their peers. One of the main learning goals of artistic arts is given to the development of artistic vision.

After analyzing the work of students in the elementary classes of art school, a number of shortcomings are traced, one of which is a constant vision. The constancy of the vision is the tendency to perceive the subject, its size, shape, lightness, color is stable and unchanged, regardless of the changes occurring with them. Constant vision is the main obstacle in the formation of artistic vision.

In the course of the article we will try to explain that the act "Watch" is, above all, the physiological process associated with the work of the eye, but the process of "see" is associated with perception, knowledge and is a product of intellectual nature. Consider the vision process and examine the issue of its formation and development. Light rays emitted by the Sun or any other source, facing the object, partially reflected, and partially absorbed by them. Reflected rays fall on the retina and form images of objects on it. The retina has a complex structure. It is located sensitive cells - visual receptors. It is in them that the light rays penetrating into the eye turns into the process of nervous excitement and the fibers of the visual nerve, the nerve impulses fall into the brain, carrying information about the surrounding items.

So, the vision is the perception of reality, where the act "Watch" is informative. But the visual system performs more important functions that are not limited to reproduction of reality.

Perception is a complex mental process, it includes past experience in the form of knowledge, representations. Without inclusion in the perception of past experience, the process of cognition would be impossible, since without the correlation by a person perceived objects, phenomena with previously visible objects, phenomena, without the use of specific knowledge obtained in the last experiment, cannot be determined, to comprehend the essence of perceived.

Perception is closely related to thinking. This is expressed in the fact that the images forming in the process of perception are comprehended and summarized through concepts, mental operations, judgments and conclusions.

Of particular importance for perceptions are theoretical knowledge in the field of anatomy, prospects, color leading. Many artists in the development of "vision" attached great importance to knowledge. The artist should know to learn to see. It is the cognitive process that helps the artist in the selectivity of perception, which distinguishes it from everyone else.

In the process of visual activity, an apperception is important, which is determined by the influence of past experience, goals and interests of the artist on the process of perception. These knowledge are professional orientation by the artist and are sustainable. The artists themselves usually call them the ability to "see" nature. Sometimes it is also called "formulation of vision."

The ability to "see" nature involves seeing the main thing in it, substantial, which is to draw in the peculiarities of the design structure of the subject, its spatial position, proportions, color, distribution of lighting. Transfer of these properties An important task of fine art.

"The formulation of sight" or "artistic vision" is an important goal in teaching the visual art of novice artists. The student must learn to think collectively-figuratively, and the plot seen to them see him a future composition. Therefore, learning "vision" should begin, of course, to the immediate image on the sheet. IMPORTANT IN THE SYSTEM OF ACADEMIC EDUCATION DISTRIBUTION DISTRIBUTION WITH NATURE IN THE LESSONS OF PICTURE AND PAINTING. In these lessons, an informational and psychological plant that comes from the teacher is played a huge role: this is a proper task of perception and the transfer of nature in the image of students. Mastering the foundations of the visual craft, besides the task of the formulation of the eye, includes and putting the hand. And the other one can be considered as a purely technical problem, solved by methods of practical drawing from nature, studying the variety of forms of the surrounding world, their structures, proportional relations of parts and the whole by means of visual materials within the boundaries of a certain visual plane.

Before proceeding to work, you should carefully consider an object of the image from several sides. The point of view is not only where they see, but also how we see, as you can see. This phrase is a methodological guidance on the development and education of artistic vision.

In the process of choosing a point of view, students develop the ability to analyze, compare, think composition-shaped, picturesque-plane, volume-structural perception, which is the main quality of professional artistic vision. By choosing a point of view, the most fully revealing nature can be started.

In the process of studying in art school, students develop two types of vision: volumetric and picturesque. The volume vision is plastic, tactile, transmitting volume-structural shape, a picturesque - the visual-optical, produced by color and tone. The volume vision is most applied to the discipline drawing, and the picturesque - to painting. Each of these types of vision emerged in the visual art not by itself. However, as modern psychology has shown, reflects certain aspects of the psycho-physiological process of visual perception and human thinking.

The drawing process at first glance is quite simple and is available for everyone who wants to deal with this and having some abilities to it. Nevertheless, considering this process in terms of physiology of vision, pay attention to two different vision process, unconsciously drawn to the drawing itself during drawing. These processes are important, as in the future they become the main elements of the concept of artistic vision.

When the student begins, for example, draw still life from several items, it perceives in a volume-color form in space each item separately. Translating a look from nature on a leaf lying in front of her, his view sees a sheet plane bounded by vertical and horizontal cuts. At each moment of translating the view, the student's vision is rebuilt on the opposite type of vision of objects, in this case, from the volumetric ones. The impression of the empty plane and from the spatial volume is different and incommensurable. Before the drawing from nature is the difficult task of translating the spatial form into the language of the flat image.

As the drawing and awareness of the objects are promoted in the image, the look of the drawing begins to overcome the sheet plane and perceive the drawn image of volume and spatially, and the real objects, the method of generalization, the look begins to compact. The method of plane perception of visible nature by the method of generalization is used by draftsmen already at the layout stage of the image into the format. Each time, considering nature, students have to cut off the unnecessary space of a virtual frame, leaving and component necessary inside. Over time, it becomes a professional habit that is the essence of composite vision. The artist on the tradition of his craft almost all the time has to deal with a sheet of rectangular format, of various values \u200b\u200band location, which also forms its vision accordingly. This is a picture form of representation in which the artist is trying to express various visual means. For the teacher, knowledge about the development of the vision process will have an indispensable assistance in working with students. The theory comprehensive practicing gives the key to its improvement.

Bibliography:

1.Avseyan O. A. Natura and drawing on the presentation: studies. Manual [Text] / O.A. Avsian. - M.: Fine art, 1985.-152 p.

2.Arnheim R. Art and visual perception: studies. Manual [Text] / R. Arnheim. - M.: Progress, 1974.-392 p.

3. Grade G.V. Painting: studies. Allowance [Text] / G.V. Bed. - M.: Enlightenment, 1986.-208 p.

4.Kuzin VS Psychology: studies. Manual [Text] / VS Kuzin - M.: Higher School, 1982.-226 p.

5.Dlov AD. Drawing from nature: studies. Manual [Text] / AD Radlov. - L.: Artist, 1978.-130 p.

This fall, residents and guests of Frankfurt could visit the first exhibition of paintings by the Talented Moscow artist Misha Levin called "Vision", held in the German Museum of Cinema (Deutsches Filmuseum). Starting to draw at four years old, the young talent, which critics at one time were painted with modern Matisse, today will hear the master of painting, its paintings are exhibited in Moscow, London, Geneva, Cincinnati and other cities of the world. Misha Levin canvas are stored in private collections Elizabeth II, Prince Charles, Vladimir Spivakov, as well as art connoisseurs in Germany, Japan and America. At the expense of the opening of the personal exhibition in Frankfurt, we managed to talk with the Russian artist about his work, success stories, sources of inspiration and future plans.

Misha, you first imagine your paintings in Germany? Why did the choice fell on Frankfurt?

Yes, this is my first exhibition in Germany. The proposal to present the paintings in Frankfurt came from the model of the German Museum of Cinema Dr. Henzel, with whom we introduced our family friends. Arriving somehow in Moscow and seeing my work, he became interested and offered to put them in the main hall of the museum, where the space allows you to show many paintings of large format. I am very glad that the workover took place, is a good opportunity to introduce work done in recent years, in such a large volume.

What impression was frankfurt?

To us and his wife, Frankfurt seemed comfortable and enjoyable for life as a city. Of course, he does not hit the beauty of architecture, but nevertheless there is a very good atmosphere. In contrast to many critics of mixing such different architectural styles, I was always attracted by a visual contrast between sufficiently low buildings, which, apparently, survived during the war, and skyscrapers. The city does not seem boring.

At what age did you understand what you want to devote all your life to visual art?

In fact, interest in my art I originated very early. I grew up in a musical family and has already started learning the game on the violin at six years. Despite the musical abilities, I did not like these classes. In addition, because of the fear of the scene and excessive excitement, I could not play on speeches as well as I managed it at rehearsals. When I was eleven years old, my father after another not a very successful exam said he was ready to give me a choice between visual art and music. I started to draw literally from three years, so I don't think of choosing to choose from painting. And never regretted a second for a second. Although, of course, this profession is very difficult and paying a lot of pitfalls. When it comes to pictorial art, most people scares the question than making themselves to life. Since I am a lot of teaching, I'm trying to somehow motivate my students to engage in not the design, namely visual art. Of course, there is no guarantee that anyone will definitely become a successful artist, but I was lucky: I can combine my own practice and teaching activities that gives the necessary stability.

Is it true that at the beginning of your career you helped the outstanding musician Vladimir Spivakov?

Yes, my father studied with him in the central music school, and afterwards for more than twenty years played in his orchestra "Virtuosos of Moscow." Vladimir Teodorovich heads a charity foundation for young talents in which I consisted. My first personal exhibition abroad was organized at his music festival, which takes place annually in Colmar, in France. Then I was ten years old.

Personal exhibition at ten years old?

Yes. Vladimir Teodorovich is a big lover of art and, one of the first of my connoisseurs. I also participated in a lot of Russian projects. In Moscow, there is a charitable foundation "New Names", whose president today is Denis Matsuev. Thanks to the foundation, my personal exhibition was held in Thailand, as well as within the framework of the promotion they conducted the work of President B. N. Yeltsin and Queen Elizabeth II.

How did it happen that your picture was at the Queen of Great Britain?

In 1994, the first official visit of Elizabeth II to Russia after the collapse of the Soviet Union took place. At the official reception in St. Petersburg, the foundation "New Names" was organized by a concert. Me, an eight-year-old boy, summed up to the queen and presented in person. Not knowing English, I memorized a speech, which I said: "Your Highness, I am very pleased to meet you. I want to give you a picture on which you are depicted overlooking the Westminster Cathedral. " She first did not understand that it was my picture. (Laughs.) Later, during my study at the Academy of Drawing, founded by Prince Charles, I was invited to receive a reception in the Windsor Palace where the whole collection of gifts of the royal family is stored. At my request, the archives looked around and found my picture. After fourteen years, she still stored there.

You studied painting and in Russia, and in the UK. How did fate brought you to the foggy albion?

When I was thirteen-fourteen years, the question arose, what school to choose. I initially thought to go to the Surikov or Stroganov School in Moscow, although it was always an opponent of the training system in our art universities, according to which the student first, before becoming an individual, must pass a template learning technique. I believed that I had a special vision of art, so in fifteen I went to study abroad. Two years lived in Oxford, adapting, studying at school, additionally studying the language and passing a certain number of exams for admission to the university. After four years of study at the Slade Art School School at the University of London, I received a bachelor's degree.

Some critics call you modern Matisse. And in your opinion, the creativity of which Master affected you to a greater extent? Who do you associate yourself with more? Who is closer to you in spirit?

As a child, I tried to imitate eminent artists. For example, in the period from six to eleven years I was in love with Rembrandt, I was interested in portraying only biblical stories. Later he was fascinated by impressionists and postimipresions. With age, of course, you realize that it is impossible to fall under such a strong influence, because one way or another you become just a imitator. And for the artist, the most important goal is to preserve its individuality. Although watching art is definitely necessary. Therefore, I can't call some one painter with my mentor or inspiration. In general, it is very close to me modern German painting, like the work of such German artists, like Neo Rachter, Daniel Richter, Max Beckman (Max Beckmann) and Otto Dix (OTTO DIX).

How would you characterize your painting style?

It can be said, this is some non -expressionism. You can also trace the effect of neoclassicism, neopop. That is, this is such a vinaigrette, and I would like it to be my own style. (Laughs.) For me, in any case, the most important thing is to constantly search, do not stop there on a certain style. Therefore, the exhibition presents work performed in various techniques. But they are united by the main thing - the human person, the image in the plot, which is becoming more realistic somewhere, and somewhere goes into abstract art.

How much time do you need to finish one cloth?

Differently. Sometimes the picture is written literally in three or four days, and it happens, you return to work during the year. Usually some kind of motive, the idea or plot is reflected in several works. Sometimes the series becomes a separate project that consists of ten-fifteen paintings. Each such project for me is a new page in creativity.

In conclusion, I would like to know about your plans. Do you plan other solo exhibitions in Europe?

I plan. I work on one big project - an exhibition in the Russian Museum, the idea of \u200b\u200bwhich was laid back in 2009. I will also participate in the project in Vienna. Russian Cultural Worker Roman Fedchin plans to spend the next year of the next year "Austria through the eyes of Russian painting masters", on which the works of fifteen artists will be presented. Negotiations about my exhibition with the director of the Vienna Jewish Museum are also coming. There are many plans, but the organization of exhibitions is, unfortunately, a very complex process that takes months and includes negotiations, transportation of paintings and many other details.

1

Shayhulov R.N.

The article discusses the formation of a picturesque vision, as the necessary component in the professional training of teachers' artists. The author analyzes the features of the pictorial vision in comparison with other forms of artistic vision, formulates the criteria for assessing its formation. Based on the statement and formative experiments, the method of its formation is proposed.

In the process of training teachers artists at the art and graphic faculties of pedagogical universities, one of the special disciplines forming practical artistic skills and artistic vision is painting. The painting program involves the study of all its species, technologies, visual pictorial diplomas. The effectiveness of the development of software requirements on painting along with other specific factors depends on the level of formation of a pictorial vision. What do we mean by scenic vision? What does it differ from other forms of artistic vision? What is the level of picturesque vision at various stages of training, and what are the ways to form it?

It is known that the entire artistic vision process is divided into: volumetric, linear, color, scenic, color, plastic and other forms, each of which has its own characteristics. It is impossible to say that something or another vision is in the "pure" form. The artist sees in nature and color, and the volume, and the other characteristics at once, at the same time, but when one of these aspects dominates, then they speak about a certain type of perception. N.Yu. Virgilis, and V.I. Zinchenko notes that the artists can form two or three and more methods of perception.

The basis of the picturesque and color vision is the color vision. It is laid out of nature, as well as hearing, smell and touch. But it can also be exacerbated, developed or vice versa underdeveloped. Initially, a person with a reduced level of color vision or diseases of color perception cannot be a painter, although it can develop other forms of artistic vision. Thus, a developed, aggravated dominant among other forms of vision - the color vision is the basis for the development and formation of a picturesque and coloristic vision.

In contrast to the color vision, the pictorial vision is formed and develops only in the learning process and practical visual activities. Since the picturesque relationship we can see, only analyzing the condition, nature and direction of lighting, analyzing the spatial position, form, volume and materiality of objects, analyzing their color and spatial relationships. In the process of such an analytical perception, the color vision is exacerbated and a picturesque vision is formed. What implies a picturesque vision in comparison with other vision methods? "The picturesque style conveys an optical impression of the items, he cares more about the visual image, it is more subjective in it than in a linear style, which seeks to" comprehend things and make them effective by their durable, obligatory relationship "(...)" Linear transfers things like they are scenic - how they seem "

Describing the methods and techniques of images with these vision methods, Leflin points out that with a linear vision, the emphasis is on the contours; The image is usually obtained with underlined edges, i.e. The form is delineated by the line, which gives the image a fixed nature. Such an approach to the image as it may approve the phenomenon.

With the picturesque vision, attention is distracted from the edges, the contour becomes more or less indifferent. The main element of the impression are subjects as visible stains. At the same time, it is also indifferent whether such stains are indicated as paints or, like lightness and darkness. Thus, painting can possess as paintings performed by monochrome, which excludes coloring. Picturesque call the works of many artists made by means of graphics. Consequently, the picturesque vision does not have to be coloristic at the same time. The picturesque space is, above all, the spatial environment, the "agent" of which is light and air.

What is the picturesque vision differ from coloristic? As you know, coloring in the works of painting is a specific color relationship system that transmit a certain status of lighting or emotional state of depicted. It color is the strict interconnection of all color relationships in the picture and the subordination of these color relations to the dominant color, and the coloristic vision is the ability to see and bind to a single colorone system often scattered in nature visual impressions. Thus, the aggravated ability to see "scattered visual impressions" we will take to a picturesque vision, and the ability to systematize these impressions in the finished picture - to a coloristic vision. The transfer in painting light and air enriches color, gives him exquisite quality, characterized by the wealth of color vibrations, depending on the color of lighting and mutual reflexes from the surrounding items. The most clearly all of these qualities manifested themselves in impressionism, named by G.Eelflin's extreme degree of painting.

Picturesque vision is the ability to see all the variety of flowers of nature in the thinnest nuances, due to the lighting, the location of the objects in space, the ability to see the effect on the subject matter of the air thickness and, as mentioned above,, unlike the flavor, the picturesque can be works, Completed in monochrome relations. Therefore, it can be said that a picturesque vision is the arsenal of the enriched artistic vision of the painter, which he then embodies in a certain coloristic system. Based on this, we can conclude that in training students of initial painting courses, we must first of all, should talk about the need to form a picturesque vision. What you need to develop a certain system of learning, establish the content and sequence of tasks, the required volume and the theme of the theoretical material.

Based on this, after analyzing the studied theoretical material on philosophy and psychology of perception, theory and methods of teaching painting and educational process on painting on the art and graphic faculties, we concluded that the pictorial vision consists of the following components:

• 1. A developed color vision and understanding of the characteristics of its impact on the perception of the surrounding world.
• 2. Holistic vision of all color relationships between objects and the surrounding space.
• 3. The ability to identify the proportional rating of color spots in the model and on the visual plane.
• 4. Vision of volumetric, lighting and tone, mold model skills.

The study contains a detailed analysis of these features and based on them are considered the picturesque work of students of initial training courses, where the characteristic flaws in the works are analyzed, that is, the level of formation of a pictorial vision at the initial stages of training is considered. Based on this analysis, the following criteria for assessing the formation of a pictorial vision were developed:

• 1) Theoretical knowledge of technology, technology, painting history, flower science.
• 2) Vision of the volumetric, lighting and tone, spatial position of objects, technical skills modeling the shape of lighting and tone model, model shape color.
• 3) developed color vision, rich pictorial understanding and color vision.
• 4) a holistic scenic vision of all relationship between objects and characteristics of nature. Holistic vision of the picturesque building of still life, the ability to determine its dominant color system.
• 5) the ability to transmit the nature of the lighting of heat-boated, the heat-boat contrast between the illuminated and shadow areas.
• 6) the ability to work proportional to the relationship, the vision of the color relationship in nature and in the picture.
• 7) the ability to apply watercolor technical techniques in accordance with the tasks assigned to combine technical techniques of watercolor to achieve the planning, texture and materiality of the image.

To develop a system of methods for forming a picturesque vision, we have a statement experiment, which pursued the goal: to determine the initial level of the formation of a pictorial vision; To identify the difficulties of students of primary courses in the process of learning painting.

For this we have been developed:

• 1) Program of tasks: a number of training productions, whose character detected certain aspects of the formation of a pictorial vision.
• 2) interviews and survey were conducted.

On the basis of the criteria and parameters developed by us, three main levels of pictorial vision were revealed: high, medium, low and based on them developed 3 tables of students' assessments: 1) High level, 2) Middle, 3) Low level with six error options. These tables are taken as a basis in determining the characteristic errors in the image of the still life during the statement of the experiment.

The first task of the stating experiment was performed by 1 course students at the beginning of training, the second and subsequent at the end of each semester until the end of the 2nd course. The study describes the sequence of performing each task and analyzed the results on the above criteria and the levels of the pictorial vision, disadvantages were revealed. The results of each task were listed in the table and are summarized in the following conclusions: approximately 7% experimented on 1 course, 12% per 2nd year, possessed the following conclusions: a high level of pictorial vision. A middle level of 51% on the 1st year and 65% on the second year and low level of 42% in the first year, 23% on the second. As we can see, studies have shown that without special training, the pictorial vision develops only among individual, most gifted students and therefore requires the development of a special system of methods for its formation.

To develop methods for the formation of a picturesque vision, we conducted a forming experiment, which was conducted in two student academic groups of the art and graphic faculty of Nizhnevartovsky State Humanitarian University for four years. The main training for the formation of a picturesque vision was focused on 1, 2 courses, 3, 4 courses were checked by the results of experienced training.

The main tasks of experimental training belong to the three sectors of cognitive activity:

• organization of perception;
• mastering theoretical knowledge;
• learning students with practical skills and skills of pictorial skills.

Essence organization of perception consisted in active and targeted observation and study of the color patterns of nature; In the ability to see the color differences in relation to each other, consciously and purposefully consider the home formulation, remembering visible to the subsequent image of its color; see and accurately evaluate color changes depending on environmental change and light source; Holiely perceive nature.

Organization of perception of painting and other works of art in which the expressive possibilities of color are used in the study of the patterns of the color construction of the composition, in the study of expressive means of art, including painting.

Practical classes included: performing exercises, work from nature, on imagination and presentation.

In order to assimilate knowledge about the patterns of constructing color harmony, studying their own and immutable qualities of color and studying the main technical techniques of watercolor, we have developed a system of short-term exercises, their feature is that they solve educational tasks in the complex. That is, in parallel with the study of the status of color science, the "temperature" features of the color, the color qualities are like light blood, saturation, color tone, etc., we have built these exercises so that when solving these tasks, students mastered and technical techniques for watercolor paints.

Part of the tasks associated with the image of still life, we built in such a way that they were not related to the image of a specific still life from nature, but are aimed at transmitting the color of space, depth and volume under the proposed conditions. Here it is possible, why it is impossible to learn this when working directly from nature?

In the work with nature, an inexperienced painter becomes his "slave", that is, it seeks to steadily follow the color, external contours of objects, cannot abstract from their visible signs. These tasks allow without affection to specific subjects to study how the color can bring closer and remove, as color can be sculpting form, transmit lighting status to make this knowledge to work from nature.

And the second half of the practical tasks consists of painting from the nature of still lifes drawn up in such a way that in each task, those or other problems of the formation of a pictorial vision are solved.

After the resulting experiment, determining the results of the proposed methodology, we relied on the levels of development of a pictorial vision developed by us. In assessing the formation of the level of scenic vision, the mathematical method of calculation of the criteria was used in the student groups of experimental groups. The estimates were exhibited in semester viewing according to the generally accepted five-point system, as well as during experimental sections in the middle of each semester. As a result of the student experiment, the following data were obtained (Table 1):

Table 1.RESULTS OF THE EDUCATIONAL EXPERIMENT

1 course, 1 semester
EG - high - 30%	Kg - high - 6.4%
middle - 52%	middle - 48.2%
low - 18%	low - 46.4%
1 course, 2 semester
EG - high - 30.6%	Kg - high - 6.1%
middle - 47.2%	middle - 42.8%
low - 12.2%	low - 51.1%
2 course, 1 semester
EG - high - 23.8%	Kg - high - 11.3%
middle - 64.8%	middle - 42.8%
low - 11.4%	low - 45.9%
2 course, 2 semester
EG - high - 39.5%	Kg - high - 5.3%
middle - 51.6%	middle - 49.1%
low - 8.9%	low - 45.6%.

Comparison of the results of the work of experimental groups with control, clearly proves the advantage of the proposed system of exercises, confirms its pedagogical performance. We revealed that, applying a targeted method of training in painting, you can achieve significant success in the development of a picturesque vision of students, which develops more successfully when from the first days of painting intensifying education, flavor, painting technique. It should be in the first place, in an in-depth theoretical and practical study of the laws of color harmony, whose knowledge enriches the perception of color and contributes to the development of a color feeling - a kind of artistic property that is the necessary components of a pictorial vision.

Throughout the process of learning painting in each task, it is necessary to put color challenges associated with form modeling, the transfer of space and volume. It is necessary to diversify and specify the goals and objectives of each individual task.

In general, the results of experimental student learning confirmed the effectiveness of the applied methodology for learning the pictorial vision of students of primary courses and the need for its use in the future pedagogical and creative activities of students.

BIBLIOGRAPHY:

• 1. Velflyn G. The basic concepts of the history of the arts. - M.-.: 1930.-290 C.: IL.
• 2. Virgilis N.Yu., Zinchenko V.P. Problems of adequacy of the image. - "Philosophy questions." 1967, №4, p.55-65.

Bibliographic reference

Shayhulov R.N. On the formation of a pictorial vision of students of initial courses of art and graphic faculties of pedavizov // Modern problems of science and education. - 2007. - № 6-2;
URL: http://science-education.ru/ru/Article/View?id\u003d784 (Date of handling: 02/01/2020). We bring to your attention the magazines publishing in the publishing house "Academy of Natural Science"

Vision of the artist

Good time of day, dear friend!

I often had to hear the question: artists are born or becoming? Of course, artists become, but the talent of the artist lives in each of us, andit is not only possible to develop drawing skills and artistic vision.

Remember the statement by F.M.Dostoevsky: "Beauty will save the world!" I would add here: provided that this beauty can see this beauty. Agree, see and watch - different things!

A person who has a vision of the artist is much thinner, richer perceives the world. Many believe that artists embellish life. Draw a person better than it really is. Or maybe it's in vision?

Who is able to better see the portrayed - the artist, carefully studying nature, or a third-party observer, who broke his eyes? Who is able to see the inner beauty of a person?

The artist is not a strict judge who is trying to make his sentence, the artist is looking for all the best that there is in a person how Lacmus exhibits this and gives life a new image.

Torture Artistic vision It means mastering artSee beautiful, see deep and full!!! This means fill your life with vivid impressions, make it richer, rich, interesting. This means expanding your creative opportunities !!!

Have you ever, dear friend, watch the work of the artist? You see an ordinary landscape, and on the canvas artist, something extraordinary, beautiful, which touches the soul. And you also want to try to do something similar, but the awareness of what you do not know how to draw, gets cold.

But in childhood you painted, but for one reason or another did not develop this ability. It's a pity! And this regret it remains inside you.

On the blog pages "Draed together" tools for mastering artistic vision will be drawing lessons

Portrait;

Landscape;

Wall painting

Why did I choose these topics for the development of artistic vision?

· Man and Nature are the main themesMy creativity .

· For me it inexhaustible source of inspiration!

· « Since portrait drawing requires very subtle perception to create similarities , drawing faces for beginner In art - a very effective waylearn to see and draw"Betty Edvars (" Discover the artist ").

So, dear friend, We will learn to draw in order to:

Fully enjoy life, learn to see, understand and transmit beautiful;

Send a portrait drawing skills (from nature and with a photo), landscape, wall mural;

Discover new talents (psychologist, designer of life, etc.);

Learn to see in small great;

Develop those abilities as already possess;

Develop abstract thinking;

Fill life with bright impressions;

Realize yourself;

See beauty inside and around yourself

Creating her own handsportraits, landscapes, wall painting You will get a lot of effects:

Focusing on its drawing object, completely disconnect the problems of everyday life;

Comprehend the nature of manbecoming a subtle psychologist;

Depicting naturefilled with its energy, delight;

All of your invested energy during work will return to you and your loved ones in the stock screen, when you hang it at home on the wall;

Give your art to your loved ones, friends !!!

You create your own hands Your space of love

Discover your own wealth !!!

You have talent for drawing!

On the blog pages, step by step you will master the art of drawing a portrait, both from photography and from nature. In videos you can watch how the portrait is created, simultaneously drawing your own.

I will be glad to your comments!

Yours faithfully