The process of creativity and the result are closely connected with the worldview of the artist. In the picture created by him, his thoughts, feelings, fantasy, skill, attitudes towards the depicted one are always looking for the most expressive solution to his plan, thinks about the plot, composition. Images arising in his imagination have an objective origin, born with visible properties of reality and have their specific forms. Therefore, the painter, embodying his idea, appeals to the properties of objects and phenomena, which he perceives visually. Only with the visual reliability of the depicted can be expressed by certain feelings, thoughts, cause the appropriate experiences in the viewer, which are associated with the substantive world. In a good landscape, the viewer will see not only material objects, but also a natural game of light and colors, silver shine of dew or overflows of paints in the morning sky. Such an image causes forgotten impressions in memory, makes the imagination work, drives the thoughts and feelings associated with past experiences, with previous experience. With the peculiarities of this associative perception and the emotional and aesthetic effects of painting works are connected.

It should not be thought that the author of the picture, seeking to achieve the visual reliability of painting, should mechanically copy the appearance of the depicted. For academic work, it is primarily a cognition, in-depth and comprehensive study of nature. Often, training sketches are unnecessary "dried", "fractions", "protocol", similar to each other not only in the plot-theme, but also in technical performance. All this is quite natural, and "dryness", the timidity of the study work can not be considered signs of its weakness or the absence of the author of creative dating.

At the same time, the liberal attitude of the student to the tasks of the etude, some "violence" are not signs of creativity, as sometimes consider. Acquisition works are not emotional, fresh and original, because they are still imperfect in artistic terms, as students do not have experience, skill, do not know all the diversity of funds to solve the learning task or embodiment of the plan. Only with the experience will come free creative mastering in kind and its laws, as well as technical perfection.

We are talking about the training work in consistently and clearly solved the educational and educational tasks and in relationships with this students were brought up and creative dating develops.

Main part

The ability to see and transmit three-dimensional shapes on the plane and the color of the objects make up the essence of the literacy of painting. This grade is acquired mainly in exercises from nature. The more the artist writes etudes from nature, the sharper becomes a feeling of color, the harmony of paints and rhythm of lines. As a result of permanent exercises in the image from the nature of still lifes, landscapes, heads and human figures, observation develops, the ability to emphasize substantial, rejected the secondary, express their emotions caused by the beauty of the environment, the diversity of life.

The path to skill begins with the study of the theoretical foundations of painting and systematic performance of practical exercises. Without knowledge of the laws of painting, the practical work of students is conducted in the blind and professional improvement slows down.

Picture is primarily to argue. Getting Started to painting, we need to think about our task well, it is clear to determine your goal.

Another Leonardo da Vinci said that "those who fall into practice without science are like a cortish that goes into swimming without a steering and compass, for they can never be sure where they go. Practice should always be built on a good theory, and nothing without it can be done well in cases of painting. "

Still-life - the first genre of painting, with whom, the studies of teachers and psychologists show, you need to acquaint younger students. It not only causes the greatest emotional response in children from 3-4 years old, associations with their own life experience, but also attracts the attention of children to the means of expressive painting, helps them more closely to peer into the beauty of those depicted items and admire them.

Art awakens in children of younger school age emotional and creative start. With the help of painting younger schoolchildren, they teach to understand the harmony of nature. When we consider a number of still lifes in different artists, we see how diverse they are in content, by means of expressiveness and by the individual creative manner of each artist. Art historians do not divide still lifes by type, but for pedagogical work with children it seems important to us. Simone still life depicts objects of one particular type: only vegetables, only fruits, only berries, mushrooms, flowers; Possible food or household items, for example: P. Konchalovsky "Peaches"; I. Repin "Apples and Leaves"; I. Levitan "Lilac"; V. Stozharov "Bread. Kvass"; P. Konchalovsky "Dry Paints" and others. If the painting presented heterogeneous items (vegetables and fruits, flowers and fruits, dishes and vegetables and other), we conclude such a still life as mixed in content, for example: I. Khrutsky "Flowers and fruits"; I. Mikhailov "Vegetables and Fruits"; K. Petrov-Vodkin "Glass and Lemon". The story still life can be attributed to the still lifes with the image of living beings: birds, animals, man - or still lifes with the inclusion of a landscape in them, for example: F. Tolstoy "Bouquet of flowers, butterfly and a bird"; I. Serebryakova "For breakfast"; P. Wings "Flowers on the window" and others.

In primary classes, it should be shown to children a variety of still lifes. In addition to single-order and mixed still lifes, children offer still lifes in a storyline, as well as written in a generalized-realistic, detailed and decorative manner, in warm, cold and contrast gamma, lyrical, solemn and others. Still lifes are selected in a variety of composition.

The selection of works in the form takes into account the principle of diversity used by the artist of the means of expressiveness and manner of execution. Pictures are selected for viewing with children in which artistic images are located in a circle, triangle, asymmetrically, symmetrically, in the center, static, dynamically. The principle of concentricity is also taken into account, the essence of which is to return to the previously perceived paintings, but at a higher level of knowledge. The same picture during the school year is repeatedly proposed for viewing by children. But the attention of the guys are guided by different purposes: to select individual images, call color, determine the mood, analyze the logical links of the picture, to establish the relationship between the content and means of expressiveness.

Works of painting, still lifes, must realistically reflect familiar to children phenomenon of public life and nature. The picture should be clearly expressed in the picture, the artist's idea. By selecting still lifes for viewing, it is necessary to clearly represent what the picture is what the artist expressed, for which he created this work, as the content passed (which artistic means used). The topic of still life should be close to the social experience of the child, his life impressions. Selecting still lifes to familiarize younger students, take into account the individual creative vision of real reality in the similar topics of still lifes. Junior schoolchildren are introduced to still lifes, created by different artists on the same topic. Perceiving these still lifes, children acquire the ability to compare various drawers of the execution of the same phenomenon with different artists, allocate their attitude to the depicted.

Pedagogical work to familiarize children with art requires creating material conditions and a special creative, joyful atmosphere, mental contact between adults and children. In the familiarization of younger schoolchildren with painting, in particular, with still life, explanations are widely used, comparisons, admission to the focus of parts, the method of causing adequate emotions, a tactful sensual method, a method of revitalizing children's emotions with the help of literary and song images, receiving "entering the picture" , Method of musical accompaniment, game techniques. The unity of the techniques and methods used in working with children in classes ensures the formation of sustainable interest in the younger schoolchildren to art, depth, brightness of impressions, emotionality of their relationship to painting. "A child in nature is an inquisitive researcher, a world discoverer. So let him open a wonderful world in living paints, bright and trembling sounds - in a fairy tale, game, in its own creativity, in beauty "- so spoke V.N. Sukhomlinsky.

Stages of work on still life

First, it is necessary to consider still life from different points of view and choose the most successful, turning attention to the effects of lighting, that is, from what point of view, the forms of items look more interesting. It is usually more interesting and expressively look at lateral lighting. It is not recommended to sit against the light.

It should be thought out what to choose the paper size and how it is better to compose still life on a sheet - vertically or horizontally. For example, if you need to turn on the angle of the table in the composition, then the paper sheet is better put vertically. .

Start the drawing is always needed from the composition of the image. It is very important to compose the entire group of items so that the sheet of paper is filled evenly. To do this, we mentally combine the entire group of items into one whole and we think over its placement in accordance with the paper sheet format.

The teacher must explain to the disciples that it is necessary to leave more space from above than below - then the viewer will create the impression that the items are firmly on the plane. At the same time, it is necessary to ensure that the items depicted do not rest in the edge of the paper sheet and, on the contrary, so that there is no much empty space.

The compositional task is not always solved simply. Sometimes the student has to spend a lot of time and effort to succeed. And if the production is very complicated, then without the help of the teacher can not do. This is explained by the fact that in addition to placing an image on a sheet of paper, the student needs to still find a composite center on the picture plane.

In most cases, the visual center does not coincide with the compositional, depending on the location of the main subject, around which the rest are grouped. After all, the spatial position of objects relative to each other in the image depends on the choice of point of view, which certainly affects the layout of the still life in the planned format.

In order for training to go successfully, the teacher needs to take all this in advance and in time to assist the disciples. On the blackboard, the teacher should demonstrate the sequence of linear construction of the still life pattern, paying particular attention to the definition of the composite arrangement of the entire group of still-life objects on a sheet of paper. The teacher should also show the correct and incorrect layout of the pattern on the sheet.

Then the teacher erases drawings from the blackboard, and the disciples are proceeded.

Initially, it is easy to touching the paper pencil, we conceive the overall nature of the form of objects, their proportions, as well as the location in space. Short segments of lines of students limit the total spatial location of the entire group of student items.

Those students who do not have a definition in the figure of a general composition of a group of student items, one can resolve each item separately, starting, however, with an approximate estimate of the size of each of them. Next, you need to clarify the value of each item separately.

Building the shape of objects, we keep in the same way as in the tasks for drawing individual items. We plan the surface of each subject, both visible and invisible. Thus, in the figure, it turns out the image of wire models.

So in the middle of the outline of the subject (for example, the kettle) is carried out the axial vertical line, on which the height is specified, and through points that determine its height, horizontal segments are carried out. They define the width of the neck and bottom of the kettle. We consider the proportions of the main part of the kettle - the vessel and draw the bottom and the neck. Thin lines are planning a spout, the cover, the kettle handle. We once again check and immediately specify the proportions of both the entire form of the kettle and the main parts.

Similarly, you need to work on the image of the apple. Draw and specify the contour of items should not immediately; The main thing is to determine the size and proportions of each of the items (in height, width, depth).

Revealing the structural basis of the shape of the subjects, it is necessary to carefully check the prospect. Special attention should be paid to a promising image of the bases of objects. It cannot be allowed that in the figure of one object "came" on the track of another, in other words, the student should clearly represent what item is in the foreground, which is on the second. Beginner drawers usually do not follow this, and they do not have any space between objects in the figure. Then they begin to introduce tone into the drawing, calculating that the defect can thus correctly correct, but it does not give the desired results.

The linear-constructive construction method helps solve this task. The student is important to clearly imagine the location of the items (trace) on the plane of the table, the distance between them. Then he must imagine this plane with whiskers depicted in perspective. .

Separately, you need to say about the depiction of the drapery, which descends from above and covers the subject plane. When drapeting is first, we first determine the horizontal and vertical plane, and then then proceed to drawing the folds. The fabric is light and thin in its structure and the material forms an expressive plastic on the vertical plane on the plastic and a black and white fold modeling. On the subject plane, the drapery folds are slightly outlined. When constructing volumetric folds, you can use the shape of shape (hardware). The student must generally summarize the complex form of folds to rectilinear geometric shapes. This method will help to understand the form of folds and correctly solve the tone tasks of the drapery pattern.

Then we draw all the items of still life in more detail, removing the construction lines.

In the process of learning, drawing from nature, students must learn to see and understand the relationship of the design of the subject with the phenomena of lighting, to own the means of black and white pattern. Not knowing the laws of the distribution of light on the form of the subject, they will passively copy the light and dark spots from nature, but they will not achieve persuasiveness and plausibility of the image.

In the process of study, the teacher must dwell on black and tone theory in the figure.

Getting Started to identify the volume of objects, first of all it is necessary to determine the lightest and dark place in still life. By installing these two poles, you should pay attention to the half. To do this, carefully follow the direction of the light rays and determine which plane of the item the rays of light fall straight, that is, where there will be the light, and what you do not fall at all, that is, where there is a shadow. Then weak the shadows falling from each item.

Initially, easily touching the pencil to paper, we pave the shadow space on each subject: on the kettle, apple, drapery. This will help to clearly see the mass of each subject, and therefore, once again check the proportions and the overall state of the drawing.

Then we take a half, enhanced tone in shadow places and finally, the shadows falling from the items. It is this procedure for identifying the volume of objects by tone by all artists is considered mandatory.

When the overall drawing is scheduled to be true, you can enhance the pressure pencil on paper and lay the tone, starting to draw a detailed drawing of each item.

At the end of the lesson, the teacher must organize the repetition and consolidation of theoretical material according to the visual arts.

With a detailed drawing form, you need to carefully monitor all the shades and transitions of lighting, for all the details of the form. But, working on the detail, you can not forget to compare it with a number of located. P.P. Pistaskov recommended: "It should not work on the detail for a long time, since the acuity of perception disappears, it is better to go to another, a number of located. When you return to the work done at first, it is easy to see the lowest. So, in the process of all work, moving from one place to another, keep the whole figure in the eye, do not strive immediately to general, but in detail, do not be afraid of the original varnish, it is not so difficult to generalize it. "

When working out forms of student items, serious analytical work should be held. It is necessary to carefully draw each item item, to identify its structure, transfer the characteristic features of the material, to trace how the composite elements are connected between themselves and with the general form, for example, the knob, the kettle spout, the texture and shape of the apple, which differ flare on different objects from each other.

Carefully draw shadows falling from the details, the shadow from the kettle, apple. Such elaboration of the form will help draw a picture by convincing and expressive.

Finishing the drawing, students under the guidance of the teacher carefully analyze the tone relationships of the still life objects, determining the total tone of the teapot, apple, drapery, various shades of the tone into the light, in the shade, in the shade: in the front and background. It is necessary to carefully make sure that individual items are not too strong on the tone (black) and did not fall out (not broken) from the drawing. To do this, it is necessary to look at the drawing from published with pretty eyes and compare the power of reflexes with nature. At the same time it is necessary to remember that reflexes should not be very bright or arguing with light, with seats. And when the drawing looks at them with risen eyes, they must disappear, merge with shadows.

Rules for drawing up still liver

Compilation of still life must be started with the idea, in our particular case, from the formulation of a learning task (constructive, graphic, picturesque, etc.). Through a comparative analysis, they come to the definition of the most characteristic features of the form and generalization of observations and impressions. It must be remembered that every new subject in the production is "a new measure of all things that are included in it, and his appearance is similar to the revolution: items change and change their relationship, as if getting into a different dimension."

It is important correctly, respectively, a certain learning task, choose a specific point of view, i.e. Horizon line (angle). The next stage of the compilation of still life is the layout of objects in the space of the subject plane, taking into account the plan of grouping in the composition.

The moment of drawing up still lifes the students themselves is important, since such exercises will allow plastic problems and the most advantageous groups of objects.

One of the items should be a composite center of setting and stand out in size and tone. It should be placed closer to the middle of the production, and to give the formulation of dynamics (movement of spots) can be moved to the right or left.

With a spatial solution of still life, you can put a small object that differs in the formation and color from other objects in the form of an accent. To complete the composition, as well as the relationship of all items into a single whole to produce drapery, emphasizing, therefore, also the difference between solid objects and a soft flowing fabric texture. The fabric can be smooth and with a pattern or pattern, but it should not be distracting from others, especially the main items. It is often placed diagonally to direct the view from the viewer to the depth, to the composite center for a better spatial solution.

Thus, it can be concluded that the essence of the composition is to find such a combination, the organization of the visual elements that would contribute to the detection of content.

An important role in the composition of the still life plays lighting - artificial or natural. The light may be side, directed or scattered (from the window or with common lighting). When illuminating still life, a contrasting light appears in front or side of the objects, and it is possible to close part of the light to the back plan to highlight the first (or main) plan. When illuminating still life from the window (if the items are supplied to the windowsill) there will be a silhouette solution of dark on light, and the color of the color will disappear if you decide still life in color. The tonal difference of objects is noticeable in the abdes.

In training still lifes, items of various tonality are selected, without connecting only bright or dark objects in one formulation, and at the same time considering the forms of incident shadows.

Consists of three items (one large - the center of the composition and two or three smaller) and drapery;

Objects are different in color, but not intense colors;

Small items can be active in color (according to them there is a comparison of color characteristics);

Objects and drapets must have a pronounced tonal difference;

Placing the production at direct daylight (large color relationships are readily read, have decorative attractiveness).

Compliance with these rules will allow students in the process of practical work on training still life to most clearly identify the main picturesque relationships, aims at the proper vision of tonal differences, which contributes to the right transmission to the color of the materiality of things.

Still life is the most favorite genre in the work of many modern artists. In still life, artists seek to show the world of things, the beauty of their forms, the wealth of relationships and the content of the production. In art schools, still life is in the first place in the system of learning a visual letter. They write and draw still lifes during audit schools, also at the plenier. The task of still life is the study of the image of objects using the laws of perspective, the rules of distribution of lighting, the rules of color science.

The basis of the compilation of still life is the selection of objects, in meaning and content.

There are several types of still lifes:

Plot-thematic;

Training;

Educational and creative;

Creative;

According to the formulation of the educational problem, realistic, decorative.

Still-life on the plenier can be two types: compiled according to the chosen theme, the other is natural, "random." Still-life in the interior involves the location of the items surrounded by a large space where still life facilities are in coented with the interior.

Plot-thematic still life implies an association of objects theme, a plot.

Educational still life. It needs to coordinate objects in size, tone, texture. Reveal the design features of objects, learn the proportions and identify the patterns of plastics of various shapes. The educational still life is also called academic or staged, the purpose of which is to train the basics of visual certificates, to promote the intensification of cognitive processes and adapt to independent creative work.

In a decorative still life, the main task is to identify the decorative qualities of nature, creating a general impression of elegacity. The basic principle of solving decorative still life is the transformation of the spatial depth of the image into a conditional flat space. At the same time, it is possible to use several plans to be located within a small depth. Creative task in a decorative still life in junior class - interpretation of the color and possession of decorative painting technique, and in high schools - stylization.

From the experience in the children's art school:

Samples of student work of grades 1-4, made in the genre of still life with various educational, plot-thematic, educational and creative and creative tasks.

Tarasova Anya Grade 3 Prep. Sirazieva S.F.	Garipova Gusel 4th grade prep. Mukhametdinov R.Z.
Highddinov Marseille 4class Pre.Siraziev S.F.	Fireshit Leia Grade 3 prep. Mukhametdinov R.Z.
Hairullina Dilyara 4th grade Prep. Mukhametdinov R.Z.	Cuckot Lida 4th Class prep. Khaziev M.Sh.
Habiev Camille 4th grade Pre.Siraziev S.F.	Fireshit Leia 4 class prep. Sirazieva S.F.
Nurtdinov Aidar 4th grade Pub. Khaziev M.Sh.	Ganiev Damir 4th grade prep. Mukhametdinov R.Z.
Saraieva Alsa 3 class prep. Khaziev M.Sh.	Fireshit Leia Grade 3 prep. Sirazieva S.F.
Nurtdinov Aidar 4th grade Pre.Siraziev S.F.	Saraieva Alsa 4th grade prep. Khaziev M.Sh.
Akhmetzyanova Julia Grade 3 Prep. Sirazieva S.F.	Ahunova Elmira Grade 3 prep. Sirazieva S.F.

The course program provides for studying the foundations of the picturesque diploma on the example of still lifes and the image of their means of painting in different materials.

1. Types of still lifes

Still life(FR. Nature Morte letters. Dead nature) - in the visual art - an image of inanimate objects, unlike portrait, genre historical and landscape topics.

Still life - one of the genres of fine art dedicated to reproduction of items, fruits, vegetables, colors, etc. The task of the artist depicting still life is to convey the coloristic beauty of the people around the human objects, their volumetric and material essence, as well as express their attitude to the images depicted. Drawing still life is especially useful in educational practice for mastering picturesque skill, since in it a novice artist comprehends the laws of color harmony, acquires technical skills of the picturesque modeling model.

As an independent genre in art, still life appeared at the turn of the XVI - XVII centuries. In Holland and Flanders and since then, it is used by many artists to transfer the direct communication of art with life and life of people. This is the time of artists who glorified themselves in the genre of still life, P. Klasa, V. Hedy, A. Beierene and V. Calfa, Sneiders, etc.

Still life is the most favorite genre and in the art of many modern artists. Still lifes are written at the pleaire, in the interior, simple and complex productions, traditional and stable arranged sets of objects from the daily help of a person.

There are several types of still lifes:

- plot-thematic;

- educational;

- educational and creative;

- Creative.

Still lifes distinguish:

- by color (warm, cold);

- in color (compensated, contrast);

- by illumination (direct lighting, lateral lighting, against light);

- at the location (still life in the interior, in the landscape);

- by time of execution (short-term - "non-relief" and long-term - many hours);

- by setting the learning task (realistic, decorative, etc.).

Still life in the landscape (at the plenier)maybe two types: one - compiled according to the chosen theme, the other is natural, "random". It can be both independent and be an integral part of the genre painting or landscape. Often the landscape or genre scene themselves only complement the still life.

Still life in the interiorit assumes the location of the items surrounded by a large space where the objects of still life are in the plot coented with the interior.

Scene-thematicstill life implies the association of the rates theme, the plot.

Educational Still Life. In it, both in the subject-thematic, it is necessary to coordinate items in size, tone, color and texture, reveal the design features of items, study the proportions and identify the patterns of plastics of various shapes. Educational still life is also called academicor, as talked above, staged. The educational still life differs from the creative strict statement of the goal: to give the student fundamentals of the visual lettuce, to promote the activation of their cognitive abilities and attach to independent creative work.

IN decorative Still Lifethe main task is to identify the decorative qualities of nature, the creation of a general impression of the word decorative still life is not an exact image of nature, and thinking about this nature: this is the selection and capturing the very characteristic, refusal of everything random, the submission of the system of still life of the specific task of the artist.

The basic principle of solving a decorative still life is to transform the spatial depth of the image into the conditional plane space. At the same time, it is possible to use several plans that need to be located within a small depth. The educational task facing a student in the process of working on a decorative still life is to "identify the characteristic, most expressive quality and strengthen in its decorative processing, in a decorative solution of still life, you must try to see the processing characteristic and on it.

1. The rules for drawing up still life

Compilation of still life must be started with design. Through a comparative analysis, they come to the definition of the most characteristic features of the form and generalization of observations and impressions. It must be remembered that every new subject in the production is "a new measure of all things that are included in it, and his appearance is similar to the revolution: items change and change their relationship, as if getting into a different dimension."

It is important correctly, respectively, a certain learning task, choose a specific point of view, i.e. Horizon line (angle). The next stage of the compilation of still life is the layout of objects in the space of the subject plane, taking into account the plan of grouping in the composition.

One of the items should be a composite center of setting and stand out in size and tone. It should be placed closer to the middle of the production, and to give the formulation of dynamics (movement of spots) can be moved to the right or left.

With a spatial solution of still life, you can put a small object that differs in the formation and color from other objects in the form of an accent. To complete the composition, as well as the relationship of all items into a single whole to produce drapery, emphasizing, therefore, also the difference between solid objects and a soft flowing fabric texture. The fabric can be smooth and with a pattern or pattern, but it should not be distracting from others, especially the main items. It is often placed diagonally to direct the view from the viewer to the depth, to the composite center for a better spatial solution.

An important role in the composition of the still life plays lighting - artificial or natural. The light may be side, directed or scattered (from the window or with common lighting). When illuminating still life from the window (if the items are supplied to the windowsill) there will be a silhouette solution of dark on light, and the color of the color will disappear if you decide still life in color. The tonal difference of objects is noticeable in the abdes.

Getting Started on a picturesque product, you need to pay attention to the following basic requirements.

1) Lighting is smooth, scattered, falling on the left side, so that the shade of hand does not cross the sheet. It is unacceptable that the sheet of paper will illuminate the sun's rays.

2) The sheet must be placed not closer than the length of the elongated hand. When working it is advisable to move away from Etude or leave it to consider from published. This technique allows you to more clearly see your errors or good luck.

3) An object of the image (model) should be located a little to the left of the student's workplace at such a distance from which it can be covered with a look as a whole. The larger, the greater the distance between it and the image.

4) Long-term etudes are performed on paper stretched on the tablet.

Work begins with composite image placing on a sheet of paper. Previously, the student should inspect the still life from all sides and determine which point of view is more profitable (more efficiently) to put an image on the plane. Before proceeding with painting, the student must familiarize himself with the kind, to note its characteristic features, understand the overall flavor.

Learning of nature begins with direct observation. The student first visually meets in kind, and then his attention switches on its proportions, the nature of the form, movement, lighting, color and tone. Such a preliminary observation of the nature serves as a step to a detailed analysis of the object.

The image begins with a light pencil drawing. It is necessary to avoid premature loading sheet with unnecessary spots and lines. The form draws very generally and schematically. The main character of a large form is revealed.

The task of the student is to learn to separate the main one from the secondary. In order for the details did not distract the attention of the beginning of the primary nature of the form, it is proposed to squint the eye so that, the form looked like a silhouette, as a common spot, and the details disappeared.

When working on still lifes, both techniques "A la Prima" techniques and multilayer (2-4) painting by lesters are appropriate.

When all the details are prescribed, and the image is thoroughly modified by tone and color, the generalization process begins.

In the last and most important stage of working on the statement, the student sums up the results of the work done: checks the general condition of the image, subordinates the details in the whole, summarizes the color gamut. At the final stage, it is desirable to return to fresh, initial perception again.

The task is not blind copying, but in the need for a creative approach to image image.

The topic of still life occupies an important place in teaching art, as it is possible to solve creative and educational tasks through a wide variety of species of this genre through the still life.

Still life (letters. Dead nature) - in visual art - an image of inanimate objects, unlike portrait, genre historical and landscape topics. "Still-life is one of the genres of fine art dedicated to reproduction of household goods, fruits, vegetables, colors, etc. Drawing still life is especially useful in training practice for mastering picturesque skill, since in it a novice artist comprehends the laws of color harmony, it acquires the technical skills of the picturesque model modeling. "

Before the still-life was formed in an independent genre, things surrounding a person in everyday life only in one way or another were as an attribute in the paintings of antiquity. The history of still life has for almost 600 years. He gradually transformed into a separate significant genre, and this process took not one hundred years. Currently, still life is the best means of studying the patterns of the shape of objects, their illumination and colors.

There are several types of still lifes:

Training;

Plot-thematic;

Educational and creative;

Creative.

Each of the types of still life performs different tasks. Table 1 shows the features of each type.

Table 1.

Features and tasks of different types of still lifes

Thus, it can be concluded that the inclusion in the program of thematic performances in training schoolchildren plays an important role not only from the point of view of the acquisition of visual skills, but in order to develop a horizontal horizon, putting it taste, value orientations, positive attitudes. Applying thematic still lifes in graduate stake in painting, the teacher teaches schoolchildren to look at the items familiar to them for them - to observe beauty in small, in the subjects of everyday everyday and the subjects of the historical, long-released from the appeal. Transmitting the mood, character and lifestyle of their owner through items - the hard task, the student who coped with it is ready for the transition to more difficult tasks. At the same time, in addition to artistic tasks, the thematic still life carries and the educational burden, through it the student can know the native history and culture, the utilitarian purpose of objects, as well as their compositional and semantic features.

The formulation of any thematic still life requires a teacher of a competent approach, starting from setting a goal and completing the exact selection of objects. "It should be noted that any laws setting still life, any rules, learning that you can learn to put a still life. It is not even called exhaustive, accurate signs of a well-composed still life, as well as indicate some norms. But you can also specify some common patterns or, on the contrary, on separate private possibilities of this genre. You can give some methodical advice, following which the teacher's artist will be able to discover new opportunities in the standing of still life. " The main stages of the organization of thematic still lifes were presented in Table 2.

Table 2.

Stages of the organization and features of the formulation of thematic still life

It is impossible to list all the possibilities of applying a pictorial thematic training still life, but you can allocate the basic rules when setting. To disclose the most interesting image of still life, a composite search with a change in an angle, lighting will help. It is very important to solve, with what light it is more profitable to write still life, since the light plays an important role in the composition of the still life. Consider the main options for lighting light:

Front lighting makes shadows barely noticeable;

Side detects well, the volume, the texture of objects;

Filtration lighting gives subjects silhouette outlines.

Changing an angle helps to create an exhort of still life. If you look at the same still life from different points of view in search of the most interesting and expressive composition. It can be noted that the formulation of still life at eye level level is particularly important in the first stages of training, because it allows you to see and depict the stain items without being distracted by the volume, perceiving only the silhouettes, analyzing the form of the subject.

To successfully execute the drawing, students need to share the work process into the following steps:

1) preliminary analysis of the formulation;

2) composite image placement on a sheet of paper;

3) transfer of the characteristics of the form of objects and their proportions;

4) identifying the volume of objects by means of lighting;

5) Detailed drawing of the shape of the objects;

6) Synthesis - Summing up work on the drawing.

Compliance with these rules will allow students in the process of practical work on training still life to most clearly identify the main picturesque relationships, aims at the proper vision of tonal differences, which contributes to the right transmission to the color of the materiality of things.

Thus, summing up the foregoing, it can be concluded that with the help of thematic still life, many tasks can be solved, such as the study and development of knowledge of the laws of visual lettues, the formation of artistic skills. Also, through the thematic still life, you can learn about the life and history of our ancestors, their interests and hobbies, visually see what they did and what values \u200b\u200blived. However, unsuccessful still-life impact will affect the quality of learning learning and as a result - for effectiveness. Therefore, it should always be remembered that the basis of the compilation of the thematic still life is such a selection of objects in which the total content and theme of the still life is expressed most clearly to understand students and fulfill their study assignment.