Novokuznetsk Institute (branch) of the federal state budgetary educational institution of higher professional

education

"Kemerovo State University"

Center for Teacher Education

Faculty of Preschool and Correctional Pedagogy and Psychology

Department of Special Pedagogy, Psychology

and theoretical foundations of training

Abstract on the topic: The animalistic genre of fine art and methods of introducing it to students of a special (correctional) school.

Completed by: student LZU 13-03 Natalya Vladimirovna Botashova

Checked:

Kostikova Dina Alekseevna

Novokuznetsk 2013

1. Animalistic genre of fine art………………….3

2. History of the appearance of the animalistic genre…………………………….4

3. Animal painting in Russian art………………………………………………………...5

4. Animalism in the countries of the world……………………………………………………………10

5. Methodology for introducing the animal genre to students of a special (correctional) school………………………………………………………..11

6. Used literature……………………………………………………………...16

1. Animalistic genre of fine art.

Animalistic genre -(from Latin animal - animal) - a genre of fine art associated with the depiction of animals in painting, graphics, sculpture and decorative arts. An artist who specializes in this genre is called an animal painter. He focuses on the artistic and figurative characteristics of the animal, but at the same time conveys its anatomical structure with scientific accuracy.

In book graphics, illustrations for fairy tales, fables, allegorical and satirical works, the animal is often “humanized”, that is, endowed with traits, actions and experiences inherent in humans, and dressed in costumes.

For sculpture and small plastic arts, decorative and folk art (carving wood, bone, stone, clay toys, embroidery), the decorative expressiveness of the figure, silhouette, texture, and color of the animal is especially important.

The animalistic genre is probably the most ancient art style that has ever existed on earth. The animalistic genre combines natural science and art and develops observation and love for nature. The animal artist pays main attention to the artistic and figurative characteristics of the animal, its habits, and its habitat: the decorative expressiveness of the figure, silhouette, and colors is especially significant in park sculpture, paintings, and small sculptures; often the animal is “humanized”, endowed with traits, actions and experiences inherent in humans. Often the main task of an animal painter is the accuracy of the image of the animal. Images of animals are often found in ancient sculpture, vase paintings, and mosaics. In the Middle Ages, allegorical, folklore, and fairy-tale images of birds and animals were common in Europe. During the Renaissance, artists began to draw animals from life.

Along with romantic admiration for the strength and dexterity of the beast, there is a desire for an accurate study of animals, often in the natural setting of their life or for their vivid plastic characteristics. The work of leading Soviet animal painters (painting, sculpture, printmaking, illustrations for scientific and children's books, etc.) is marked by a subtle knowledge of the animal world, a combination of cognitive tasks with sharp characterization and decorative expressiveness of images.

Stylized, sometimes magical, images of animals were widespread in the art of the peoples of Oceania, Africa, America, and the Ancient East.

In Medieval Europe, images of animals were drawn from folklore, tales and legends, where they were presented in a fabulously grotesque image. Gradually, they began to move from allegorical depictions of animals to realistic ones. Already during the Renaissance, artists began to draw animals from life.

The animalistic genre was finally formed in Holland and Belgium in the 17th century. At this time, animal artists tried to convey both the natural grace and plasticity of animals, and the romantic admiration for their dexterity and strength.

The animal world was of great importance in the life of primitive man.

2. The history of the emergence of the animalistic genre.

The animalistic genre originated in the primitive era, as evidenced by cave paintings that have been preserved in many parts of the world. The most ancient artists left colorful drawings of deer, bison and mammoths on the walls of caves, which even today amaze with their authenticity. In the 1st millennium BC. e. magical figurines of birds and animals made of clay, metal, and bone gave rise to the so-called animal style in the art of the Scythian tribes from the Carpathians to the borders of Western China. The spontaneity of living form, combined with the ornamentation of compositions, will remain for a long time in the decorative and applied art of many peoples. Images of animals reach unsurpassed monumentality and grandeur in Ancient Egypt. After all, the Egyptians considered many animals to be gods. Sphinxes, humanoid deities with the heads of animals and birds, embodied the connection between human and animal principles in nature. The same idea of ​​the unity of the world prompted the ancient inhabitants of Peru and Mexico to combine figures of people and animals into bizarre groups in the decoration of decorative vessels. The rock paintings depicted animals, birds and hunting scenes. It was in China in the 8th century. World art began with animal painting, when in the Paleolithic era, more than 30 thousand years ago, people began to depict animals on rocks. The tradition of preserving images of domestic animals, as well as animals and birds considered sacred, is also rooted in the deep past. We have reached us with bas-reliefs of dogs, lions, bulls and horses of ancient Assyria, bas-reliefs and frescoes with dogs, cats, ibises, crocodiles, baboons, snakes, jackals, falcons of Ancient Egypt, ceramics with drawings of dogs and horses of Ancient Greece and Ancient Rome, sculptural images jaguars, snakes and other animals among the Aztecs and Mayans.

The term “animalism” was first used in relation to sculpture in 1831, when three young French sculptors - Antoine Louis Bari, Christophe Fratin and Alexandre Jouillonnet - exhibited small animal figures at the Paris Art Salon. Animal art began to differ in its wide variety of motifs, subjects, and types in the 20th century. World art began with animal art, when in the Paleolithic era, more than 30 thousand years ago, people began to depict animals on rocks. The tradition of preserving images of domestic animals, as well as animals and birds considered sacred, is also rooted in the deep past. We have reached us with bas-reliefs of dogs, lions, bulls and horses of ancient Assyria, bas-reliefs and frescoes with dogs, cats, ibises, crocodiles, baboons, snakes, jackals, falcons of Ancient Egypt, ceramics with drawings of dogs and horses of Ancient Greece and Ancient Rome, sculptural images jaguars, snakes and other animals among the Aztecs and Mayans.

In products of the Scythian “animal style”, figures of animals and people are woven into a bizarre ornament. Relief patterns with fabulous animals decorate the walls of ancient Russian white-stone churches (Dmitrov Cathedral in Vladimir, Church of the Intercession on the Nerl). In medieval art, animals and birds became “talking” symbols: a dog meant loyalty and protection, a dove meant peace and hope, monkeys meant base human passions and desires. A special place was occupied by the image of a lamb (lamb) - a symbol of the innocent sacrifice of Christ. This symbolism was preserved, but at the same time the thirst for new knowledge prompted artists to closely study the appearance and habits of animals, sketching them from life. Animals appear in album sketches and paintings; A. Dürer, with the precision of a scientist, recreates every hair in the fluffy skin of a hare, and enthusiastically sketches the exotic animal. (A. Durer. “Little Bunny”).

Animalism emerged as an independent genre in the 17th century. in Holland and Flanders (Belgium), in the 18th century. - in France, England, Russia.

In the illustrations to I. A. Krylov’s fables, created by V. A. Serov, animals were humanized. This tradition continued in the works of children's book illustrators N. A. Tyrsa, E. I. Charushin, A. F. Pakhomov. Paths of animalism in the 20th century. determined by V. A. Vatagin and I. S. Efimov.

3. Animal painting in Russian art.

With the establishment of “secular” art in Russia in the 18th century, the attention of artists, in parallel with their interest in the image of man, also turned to the animal world. At the royal court, portraits of four-legged pets were created, and “high-ranking” animals were immortalized in porcelain. In eighteenth-century Russia there was even a qualification - “master of animal art.” Life drawing, the desire for authentic representation of animals and birds of the 18th century masters, prepared the flowering of animal painting in the next century.

In the 19th century, in works of art, accuracy of reproduction of appearance and objective reflection of the manifestations of the animal’s nature were of paramount importance. The artist’s impartial view of the “animal model” remained for many decades. During this period, images of domestic animals predominate in easel compositions - these are scenes of peasant life, pictures of wars and parades. Wild animals and birds appear in hunting stories or travel sketches.

The development of animal painting in painting is associated primarily with the names of N.E. Sverchkov, who raised the zoological theme in his works to the level of portraits and genre paintings. P.P. Sokolov, in whose paintings and watercolors depicting hunting scenes, animals always occupy a leading position. In the drawings and paintings of A.S. Stepanov, an animal painter and landscape painter, the life of animals is revealed in their natural habitat. Sokolov and Stepanov brought their vision of nature to the art of book illustration.

“Animal images” also appear in medal art, where animals appear not only as representatives of a specific breed, but also as bearers of characters, and sometimes specific ones.

A new stage in the history of the animal painting genre begins at the turn of the 19th and 20th centuries, when the depiction of “lesser brothers” begins to be based on the artist’s need to empathize and express his attitude towards animals. At this time, A.L. Ober created his best works ("Polar Bear", 1898). in whose work for the first time an interest in conveying the individual characters of animals appears.

In the 1900-1910s, pets became full participants in urban scenes. Images of domestic animals are brought to the fore by painters, regardless of the artist’s affiliation with a particular artistic movement, be it a story about everyday conflicts. Wild animals and birds are gradually ceasing to be the heroes of dramatic scenes of hunting and are increasingly appearing as objects of human care, living in the wild or living in a zoo.

The second unsurpassed master animal painter, who played a large role in the development of the genre throughout almost the entire twentieth century, is I.S. Efimov. He, a student of V.A. Serov, was called the “king of animals.” In the 1930s, Efimov found a new material for drawing - soft lithographic and Italian pencil. And his attitude to sculptural materials contributed to the rapprochement of plastic and decorative arts, which later manifested itself in the animalistic genre. In the mid-1920s, a galaxy of young creators began to actively work in Detgiz under the leadership of V.V. Lebedev, among whom E.I. Charushin and V.I. Kurdov can be called animal painters by vocation. Having become a children's writer, Charushin created a unique collection of truthful and touching images of animal cubs in drawings, lithographs and even in porcelain. Charushin is considered one of the founders of printmaking for children. Lithographed sheets made in the 1930s were intended to decorate a “children’s” interior.

A fascination with horses was common to many artists of the 20th century, and not only animal painters, who paid tribute to them in their work. These are R.R. Frenz ("Hunting of the 15th century, "Bityug", 1922), V.I. Tyulenev ("Spring Morning. Dawn", 1976), K.M. Simun ("Horse", 1960s), D.V. Prasolov ("Tabun", 2002). N.A. Tyrsa was a hereditary Cossack, which is probably why he knew all horse habits so well.

And since the 1970s, dogs and cats have increasingly come to the attention of artists (A.I. Khaustov. “Cat”, 1976; O.Yu. Skarainis. “Cat”, 1982; D.N. Tugarinov.” Caucasian Shepherd Dog", 1987) and begin to play leading roles even in portraits or compositions with the participation of people.

Since the late 1970s, the perception of an animal as a valuable creation of nature has played an increasingly lesser role. Images of animals are filled with metaphorical meaning and become expressions of the thoughts of artists of different directions, about life, fate, and man. The triptych by N.V. Bogushevskaya “The Life of a Bird” (1980) is essentially a parable about life and death. Increasingly, people identify themselves with animals, and not necessarily in a dramatic way. By the 1990s, all these thoughts were united by the global theme of ecology (V.A. Danilov, “Fish,” 1992). Now the division into wild and domestic becomes irrelevant, since man is also an animal. Everyone feels and suffers the same. Wild animals come to the city, domestic animals become personified and rise above their owners (V.A. Danilov, “The Cat and the Fish,” 1993).

Interesting names

Vasily Alekseevich Vatagin. He received a biologist education. He graduated from the Faculty of Natural Sciences of Moscow University. However, his main profession was as an artist. It should be added that in this drawing the main role was assigned to animals and one can only be surprised at Vatagin’s amazing fidelity to his childhood passion, since the artist’s entire life was devoted to the study and depiction of the animal world. The style of Vatagin’s works in the early 1900s was influenced by his numerous travels throughout Russia and abroad. He traveled to the north and south of Russia, painted in zoos in Europe for several years, collecting material about exotic animals for Moscow University, and visited Greece, Sicily, and Constantinople. The pages of his albums are filled with drawings of animals interspersed with sketches of the ruins of the Acropolis, Olympia, Mycenae, and watercolor landscapes of Palermo, Naples, and Pompeii. He left several dozen weighty folders with drawings and watercolors; from them one can trace the entire complex and diverse “geography” of his life.

Efimov Boris Efimovich I never thought that I would become an artist, although I loved drawing since childhood. His ability to draw was discovered early, from the age of 5-6. On paper, he preferred to depict not the surrounding nature - houses, trees, cats or horses, but figures and characters born of his own imagination, the stories of his older brother and the content of the books he read. Very soon this childish hobby gave way to a conscious desire to put on paper the funny things in people’s habits and characters. Efimov’s first cartoon was published in 1916 in the illustrated magazine “Sun of Russia”, popular in those years. The merits of Boris Efimov during the Great Patriotic War were awarded the medals “For the Defense of Moscow” and “For the Victory over Germany.” In the post-war period, Boris Efimov continues to work actively in a variety of genres. In 1948, a collection of his cartoons, “Mr. Dollar,” was published, and in 1950, an album of drawings, “For Lasting Peace, Against Warmongers,” was published.

Charushin Evgeniy Ivanovich- Soviet graphic artist and writer, Honored Artist. In addition to his own books ("Volchishko and Others", "Vaska", "About the Magpie") E. I. Charushin illustrated the works of V.V. Bianchi, S. Ya. Marshak, K. I. Chukovsky, M. M. Prishvin and others. In the illustrations of E. I. Charushin, an animal artist, the world of animals is revealed in vivid images, with great warmth and humanity. He has his own techniques for conveying shape, color and texture. His characters are realistic and fabulous at the same time. He strives to express the character of each animal in laconic ways, to convey the joy of communicating with the living. Charushin studied animals in detail and specifically, which, when creating his drawings, could not think about the accuracy of the transfer of form or proportion, so this was already implied by itself. This approach helped to focus on creating images. Each illustration is different from the other, each has its own emotional image - a certain character in a certain state. He considered the main thing to be the creation of an image, “and if there is no image, there is nothing to depict.

Stepanov Alexey Stepanovich. In the second half of the 1880s. Stepanov worked for several summer seasons with I. I. Levitan - first near Zvenigorod, then on the Volga. Along with Levitan, he is considered one of the creators of the so-called mood landscape, when the artist not only looks for a motive in nature that corresponds to his internal state, but also psychologizes the landscape, transfers his own thoughts and experiences into it. Stepanov's works are plein air in nature, they are painted broadly, sketchily, with a liquid transparent brushstroke, very softly, with a few colors (“Less colors,” he later advised his students). Stepanov loved to depict a village road along which peasant horses pull sleighs or carts. He loved to depict peasant children observing the world around them - naked, poor, autumnal, but dear, etc. He painted hunting scenes with enthusiasm. Stepanov loved animals and had a rare ability to convey their habits and even psychology. M. V. Nesterov considered Stepanov the best animal painter after V. A. Serov. Serov also highly valued this gift of the artist, so he insisted on inviting Stepanov as a teacher at the Moscow School of Painting and Painting. For about twenty years, Stepanov led the “animal class” there. The students loved him to the point of adoration.

Khlebnikov Valery Ivanovich. Born on May 16, 1950 in the city of Vyshny Volochek, Tver Region. Father - Khlebnikov Ivan Prokofievich - military pilot. Mother - Maria Ivanovna - a housewife. In 1951, my father was transferred to Fr. Sakhalin, where the family lived for 4 years. It was there that Valera, at the age of three, made his first sketches... of a cat! The parents said it turned out unusual. In 1955, the family moved again, this time to the city of Lukhovitsy, Moscow Region. As it turned out later - finally and irrevocably. Until the age of 16, Valery was engaged in drawing on his own, and later in the art studio organized at the local cultural center “Start” under the direction of Erosh Vladimir Vasilyevich. In 1969, Khlebnikov entered the Moscow Art School in 1905. But almost immediately he left to serve in the Northern Fleet. Valery Ivanovich went straight to the military registration and enlistment office... from behind the easel. It was there, and not in a noisy company of friends, that Khlebnikov, finishing another job, spent his last evening in civilian life. In 1972, having received demobilization, he was transferred to the Ryazan Art School. G.K. Wagner, where he is accepted without exams. Having received his diploma in 1976, he immediately made his first personal exhibition in the city of Lukhovitsy, which by that time had already become home to the artist.

In the art of Valery Khlebnikov, his two passions were happily combined - his love for animals and his love for drawing. Khlebnikov creates a surprisingly attractive world of images of “our little brothers,” in which the reality and recognition of the characters are intricately intertwined with the artist’s intricate fantasy. His animals are endowed with all the features of human characters, emotions, and feelings. They are sad and angry, thoughtful and laughing. His works emanate an impulse of kindness and sly fun.

4. Animalism in the countries of the world.

Greece and Rome. For the artists of Ancient Greece and Ancient Rome, the main object of art becomes a person; images of animals do not play a significant role in ancient art.

Wounded lioness. Fragment of the relief “The Great Lion Hunt” from the palace of King Ashurbanipal in Nineveh. Limestone. British museum. London.

In their desire to reflect the real world in all its diversity, artists of the European Renaissance widely practiced life sketches of animals, images of which are found in sculpture, frescoes and easel paintings. One of the first to turn to such images was in the 15th century. A. Pisanello, and in the 16th century. Leonardo da Vinci and Albrecht Dürer created drawings of animals that are remarkable in their power and precision.

China. The depiction of animals reached the highest level in Ancient China. There are known images of dogs similar to chow chows dating back more than two thousand years. Even today we admire the animalistic graphics of Chinese masters. A genre has been formed. It came to Europe and Russia a little later in the 17th-18th centuries.

The animal genre and animal artists appeared in China during the Tang and Song periods.

The technique of “guohua” (literally - Chinese painting) - water paints on scrolls made of silk and paper. This technique arose from the techniques of traditional Chinese painting (depicting an object using spots of color and thin lines on a neutral background).

In Guohua painting, there is traditionally a division into styles, consecrated by centuries of tradition. The most popular styles include “flowers and birds”, “mountains and waters”, images of animals, horses, as well as carp, shrimp, insects, and everyday scenes.

Unlike European painting, Chinese paintings are valued not so much for their beauty, but for the special, almost elusive feeling present in the room where the painting hangs. Paintings, in accordance with the ideas of the Chinese, create a mood, bring good luck, protect from troubles, drive away evil forces and influences. A lot in assessing a painting depends on the personality of the artist: a master who has great spiritual strength, cultivated and honed over many years of practicing his craft, is able to translate part of his strength into a painting. And therefore, the Chinese value not only visible, external beauty in a painting, but also internal beauty, strength and “energy”. Chinese painting has two distinctive features: the so-called “yijing”, that is, the transfer of an idea, and “bimo”, that is, the use of ink and brush.

There are known images of dogs similar to chow chows dating back more than two thousand years. Even today we admire the animalistic graphics of Chinese masters.

Holland. In Holland in the 17th century. the image of animals stands out as a separate genre. Its founders A. Cape and P. Potter skillfully show domestic animals against the backdrop of farms and pastures. Each animalist chooses his favorite range of themes and images. In the 19th century, the outstanding sculptor A.L. Bari reflected his admiration for the love of freedom and peculiar grace of animals in dynamic groups of predators. And C. Troyon painted poetic landscapes with cows and sheep surrounded by peaceful rural nature to those close to the artists of the Barbizon school. At the turn of the 19th - 20th centuries. the Swede B. Liljefors depicts wild animals in their natural habitat, the French sculptor F. Pompon shows interest in the decorative and plastic qualities of birds and animals, and the German painter F. Mark, in his works, revives the heroism of images of wild animals.

5. Methodology for introducing the animal genre to students of a special (correctional) school.

Teaching visual arts to children in a correctional school is of great importance for the overall mental development of the child and for the formation of a creative nature. In the process of teaching children to draw, teachers use various themes: family, home, hometown, nature, seasons, holidays, etc. One of the most favorite topics in the work of young artists is drawing animals.

The animal world is very interesting for a child. Animals move, have character, are distinguished by peculiar behavior and, therefore, arouse cognitive interest, active perception, and a vivid emotional response in children. It is necessary to instill a love for animals from childhood, to draw the child’s attention to the beauty of the animal, to its benefits, to the mother’s care for the cubs, to the feeling of affection with which it responds to any kind attitude.

Introducing preschool children to the animal genre allows them to solve both cognitive (the appearance, habits and behavior of animals, their character) and educational tasks (love and an attentive, sensitive attitude to the animal world, the desire to protect and preserve nature). The formation of an aesthetic attitude towards the animal world also occurs in classes on environmental education when meeting domestic and wild animals, when observing living objects, and in other types of activities. As a result, children accumulate a variety of impressions, which they strive to express in their creativity. Teaching visual arts can help them with this. The child’s visual activity acquires an artistic and creative character gradually. The product of artistic and creative activity is an expressive image. When creating a drawing, the child uses visual actions, controlling them by representing the image depicted, and evaluates them as correct or incorrect. Hand movements aimed at making a drawing are not generated by the process of drawing itself. Children should be taught how to draw.

The process of learning to depict animals is long, it can be divided into two directions: carrying out activities to develop children’s knowledge about animals and teaching to depict animals. The implementation of activities to develop children's knowledge about animals, the preschooler's competence in relation to nature, develops in various types of activities: in the classes “I get to know the world”, “Learning to speak”, in work, design, in activities caring for plants and animals, in observations . The content of stories about nature, poems, fairy tales about animals, observations during walks, excursions provide rich material for depicting domestic and wild animals, to clarify their characteristics. Correctly organized by the teacher, observation, examination of toys, paintings, illustrations depicting an animal, allows one to form an idea of ​​​​the structure of the animal, the features of its appearance.

The characteristics of students in a correctional school necessitate the need to reinforce any productive type of activity with words, plastic movements, playback, etc. Without this, it is difficult for a child to reveal the intended image. The child transforms, actively communicates, and joins the game with interest.

Great importance in the development of visual activity is given to the word. It is the word that is necessary not only to describe the appearance of the animal, but also to characterize the features of its life and behavior in the conditions in which it lives. To do this, you can widely use dramatization games, riddle evenings, organizing exhibitions in the classroom, including excursions; educational stories, etc.

The drawing technique should be mastered by the child during the initial period of learning to draw so as to gain complete freedom of action when performing more complex tasks that will have to be solved during the next stages of mastering drawing.

Drawing animals is a rather complex and lengthy process, which has its own characteristics in each age group. Thus, at the beginning of learning to draw, children only know how to hold a pencil or brush and work with them, depicting vertical and horizontal lines; they are not yet able to depict a believable animal. The drawings of such children are often meaningless. At this stage, the teacher teaches how to recognize and name objects, images in drawings, and establish a connection between the drawing and the drawing process. Children learn to depict individual objects. At the same time, the teacher uses such techniques and teaching methods as step-by-step explanation and demonstration of what is depicted, explanation in general; partial display of the image; verbal explanation; individual work; completing the drawing of an object (for example, a dog’s tail).

When further teaching how to draw animals, students are first asked to name the shape of the animal’s body and head, then shows the drawing sequence, naming the body parts and their shape (the body is oval, the head is round, beak, tail, etc.). Toys that are simple in shape and structure are taken as a model of animals.

The teacher analyzes the structure of the animal's body by showing a toy or drawing.

An example of an algorithmic scheme for drawing a pet - a cat using a geometric figure - a circle. Draw a circle, inside the circle at the bottom of it draw a smaller circle - this is the head. Draw ears on the head using small triangles. We draw a muzzle - two parallel points - the eyes, one bold point lower - the nose. Using horizontal lines we draw a mustache. We use an arcuate line to depict the mouth. Using small ovals, add two legs and a tail. The extra lines need to be erased, the drawing should be colored according to the child’s wishes.

Drawing animals involves the use of a variety of methodological techniques that allow you to take into account the characteristics of these children and develop their creative abilities, which has a positive effect on the result of productive visual activity.

The main task of the teacher is not only to teach how to draw various animals, to introduce them to the best works of the masters of the animal genre, but also to instill in their students the ability to see, understand, cherish and love the diverse and amazing world of living beings. In a correctional school, a child develops a different attitude towards the world, so it is important to bring him to an understanding of the special role and place of man in nature, to convey to the consciousness of children that in nature there is a kingdom of animals; The animal kingdom is interesting and amazing.

Using non-traditional techniques for learning to draw animals

Animalistic themes occupy a fairly large place in the process of teaching students to draw. In this regard, the question arises of using, along with traditional ones, non-traditional drawing techniques and techniques, thanks to which it is possible to maintain a child’s constant interest in creativity and cultivate love and respect for the world around him.

There are many non-traditional drawing techniques; their unusualness lies in the fact that they allow children to quickly achieve the desired result. For example, what child would not be interested in drawing with his fingers, making a drawing with his own palm, putting blots on paper and getting a funny drawing. The child loves to quickly achieve results in his work.

Visual activities using non-traditional materials and techniques contribute to the child’s development of:

fine motor skills and tactile perception;

spatial orientation on a sheet of paper, eye and visual perception;

visual skills and abilities, observation, aesthetic perception, emotional responsiveness.

Drawing animals can be quite a difficult activity for a child in a special school. In connection with this, in the classroom it is important to activate the student’s attention and motivate him to activity with the help of additional incentives. Such incentives can be: a game; a surprise moment (a favorite fairy tale or cartoon character comes to visit and invites the child to go on a trip); musical accompaniment, etc.

In addition, it is advisable to vividly and emotionally explain to the children the methods of action and show depiction techniques.

Taking into account the characteristics of schoolchildren and the mastery of different skills at different age stages, it is recommended to use special techniques and techniques for drawing animals.

So, to begin with, when drawing animals, it is appropriate to use drawing with fingers and palms, stamping with potato stamps. Then you can introduce more complex techniques: poking with a hard semi-dry brush, printing with foam rubber; cork printing; wax crayons + watercolor; leaf prints; palm drawings; drawing with cotton swabs; magic ropes. And in the future, children can master even more difficult methods and techniques: sand painting; drawing with soap bubbles; drawing with crumpled paper; blotography with a tube; stencil printing.

Each of these techniques is a small game. Their use allows children to feel more relaxed, bolder, more spontaneous, develops imagination, and gives complete freedom for self-expression.

In conclusion, I would like to add that in each specific case, the correctional school teacher independently selects methods and techniques, carefully thinks through and works through each stage of the lesson, which will fully correspond to the level of development and needs of each child. After all, many important aspects of children’s lives depend on the quality, competent work of the teacher.

Used Books:

Penova V.P. “Drawing with a pencil.” M.: “Family Leisure Club”, 2008. – 112 p.

Davydova G.N. Unconventional drawing techniques. Part 2. – M.: Scriptorium Publishing House 2003, 2007. – 72 p.

Art. Work programs. Manual for teachers of general education institutions. M.: “Enlightenment”, 2011.

Painting: Encyclopedia. M.: 1999.

Plotnikova N. Encyclopedia of art. M.: ROSMEN-2007.

Pedagogical creativity No. 9 A.V. Merzlov. M.: 2007.

And less often in decorative arts. Animal art combines natural science and artistic principles. The main task of an animalist can be both the accuracy of the image of the animal and artistic and figurative characteristics, including decorative expressiveness or endowing animals with human traits, actions and experiences (for example, depicting anthropomorphic characters in fairy tales and fables).

From sculpture, animalistic ceramics are widespread.

Stylized figures of animals are found among the monuments of the animal style, in the art of the Ancient East, Africa, Oceania, ancient America, and in the folk art of many countries.

Artists working in the animalistic genre are called animalists .

Famous animal painters

• Yi Yuanji (c. 1000 - c. 1064) was a Chinese artist especially known for his skill in painting monkeys.
• Zhu Zhanji (1398-1435) - Chinese emperor and master of drawing dogs and monkeys.
• Albrecht Durer (1471-1528) - German painter and graphic artist.
• Frans Snyders (1579-1657) - Flemish painter.
• Jan Wildens (1586-1653) - Flemish painter.
• Vaclav Hollar (1607-1677) - Czech graphic artist and engraver.
• Jan Veit (1611-1661) - Flemish artist and engraver.
• Paulus Potter (1625-1654) - Dutch painter.
• David Koninck (1636-1699) - Flemish painter.
• Ivan Grot (1717-1801) - Russian painter.
• George Stubbs (1724-1806) - English painter.
• Mori Sosen (森狙仙) (1749-1821) - Japanese master of drawing monkeys.
• Jacques-Laurent Agas (1767-1849) - Swiss painter.
• Karl Kuntz (1770-1830) - German painter and engraver.
• Antoine-Louis Bari (1797-1875) - French painter and sculptor.
• Eugene Delacroix (1798-1863) - French painter and graphic artist.
• Christophe Fratin(1801-1864) - French sculptor.
• Edwin Henry Landseer (1802-1873) - English painter and sculptor.
• Pyotr Klodt (1805-1867) - Russian sculptor.
• Edward Lear (1812-1888) - animal artist, poet, representative of nonsense poetry.
• Philippe Rousseau (1816-1887) - French painter.
• Joseph Wolf (1820-1899) - German graphic artist and painter.
• Auguste Nicolas Cahen (1822-1894) - French sculptor.
• Emmanuel Fremier (1824-1910) - French sculptor.
• Brighton Riviere (1840-1920) - English painter.
• Evgeny Lanceray (1848-1886) - Russian sculptor.
• Heinrich von Zügel (1850-1941) - German painter.
• Francois Pompon(1855-1933) - French sculptor.
• Heinrich Harder (1858-1935) - German painter and illustrator.
• Friedrich Wilhelm Kühnert(1869-1921) - German painter and illustrator.

• August Gaul (1869-1921) - German sculptor.
• Franz Marc (1880-1916) - German expressionist painter.
• Vasily Vatagin (1883-1969) - Russian painter and sculptor.
• Evgeny Charushin (1901-1965) - Russian graphic artist, Honored Artist of the RSFSR.
• Konstantin Flerov (1904-1980) - Russian paleontologist, graphic artist and painter, Doctor of Biological Sciences.
• Nikolai Kondakov (1908-1999) - Russian biologist, illustrator, PhD.
• Andrey Marts (1924-2002) - famous Soviet and Russian animal sculptor, Honored Artist of the RSFSR.
• Alexey Tsvetkov (1924-2011) - Soviet and Russian animal sculptor, Honored Artist of the Russian Federation.
• Robert Bateman(born 1930) - Canadian animal artist.
• Rien Purtvliet(1932-1995) - Dutch illustrator.
• Akulov Vladimir Ivanovich (born 1954) is a famous Belarusian artist, graphic artist and painter, creator of a number of large-scale animalistic cycles.
• Marina Efremova (born 1961) is a Russian animal artist.

see also

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Notes

Links

• - Exhibition “Animalism” at the Complutense University of Madrid

An excerpt characterizing Animalism

– Your Excellency, I would like to be useful here. Let me stay in the detachment of Prince Bagration.
“Sit down,” said Kutuzov and, noticing that Bolkonsky was hesitating, “I need good officers myself, I need them myself.”
They got into the carriage and drove in silence for several minutes.
“There is still a lot ahead, there will be a lot of things,” he said with an senile expression of insight, as if he understood everything that was happening in Bolkonsky’s soul. “If one tenth of his detachment comes tomorrow, I will thank God,” added Kutuzov, as if speaking to himself.
Prince Andrei looked at Kutuzov, and he involuntarily caught his eye, half an arshin away from him, the cleanly washed assemblies of the scar on Kutuzov’s temple, where the Izmail bullet pierced his head, and his leaking eye. “Yes, he has the right to talk so calmly about the death of these people!” thought Bolkonsky.
“That’s why I ask you to send me to this detachment,” he said.
Kutuzov did not answer. He seemed to have already forgotten what had been said to him and sat lost in thought. Five minutes later, smoothly rocking on the soft springs of the stroller, Kutuzov turned to Prince Andrei. There was no trace of excitement on his face. With subtle mockery, he asked Prince Andrei about the details of his meeting with the emperor, about the reviews he had heard at court about the Kremlin affair, and about some common women he knew.

Kutuzov, through his spy, received news on November 1 that put the army he commanded in an almost hopeless situation. The scout reported that the French in huge numbers, having crossed the Vienna bridge, headed towards Kutuzov’s route of communication with the troops coming from Russia. If Kutuzov had decided to stay in Krems, then Napoleon’s army of one and a half thousand would have cut him off from all communications, surrounded his exhausted army of forty thousand, and he would have been in Mack’s position near Ulm. If Kutuzov had decided to leave the road that led to communications with troops from Russia, then he would have had to enter without a road into the unknown lands of the Bohemian
mountains, defending themselves from superior enemy forces, and abandoning all hope of communication with Buxhoeveden. If Kutuzov had decided to retreat along the road from Krems to Olmutz to join forces with troops from Russia, then he risked being warned on this road by the French who had crossed the bridge in Vienna, and thus being forced to accept battle on the march, with all the burdens and convoys, and dealing with an enemy three times his size and surrounding him on both sides.
Kutuzov chose this last exit.
The French, as the spy reported, having crossed the bridge in Vienna, were marching in an intensified march towards Znaim, which lay on Kutuzov’s retreat route, more than a hundred miles ahead of him. To reach Znaim before the French meant to have great hope of saving the army; to allow the French to warn themselves in Znaim would probably mean subjecting the entire army to a disgrace similar to that of Ulm, or to general destruction. But it was impossible to warn the French with their entire army. The French road from Vienna to Znaim was shorter and better than the Russian road from Krems to Znaim.
On the night of receiving the news, Kutuzov sent Bagration’s four-thousand-strong vanguard to the right over the mountains from the Kremlin-Znaim road to the Vienna-Znaim road. Bagration had to go through this transition without rest, stop facing Vienna and back to Znaim, and if he managed to warn the French, he had to delay them as long as he could. Kutuzov himself, with all his hardships, set out for Znaim.
Having walked with hungry, shoeless soldiers, without a road, through the mountains, on a stormy night forty-five miles, having lost a third of the stragglers, Bagration went to Gollabrun on the Vienna Znaim road several hours before the French approached Gollabrun from Vienna. Kutuzov had to walk another whole day with his convoys to reach Znaim, and therefore, in order to save the army, Bagration, with four thousand hungry, exhausted soldiers, had to hold off for a day the entire enemy army that met him in Gollabrun, which was obvious , impossible. But a strange fate made the impossible possible. The success of that deception, which gave the Vienna bridge into the hands of the French without a fight, prompted Murat to try to deceive Kutuzov in the same way. Murat, having met Bagration’s weak detachment on the Tsnaim road, thought that it was the entire army of Kutuzov. In order to undoubtedly crush this army, he waited for the troops that had fallen behind on the road from Vienna and for this purpose proposed a truce for three days, with the condition that both troops would not change their positions and would not move. Murat insisted that negotiations for peace were already underway and that, therefore, avoiding useless shedding of blood, he was offering a truce. The Austrian general Count Nostitz, who was stationed at the outposts, believed the words of the envoy Murat and retreated, revealing Bagration’s detachment. Another envoy went to the Russian chain to announce the same news about peace negotiations and offer a truce to the Russian troops for three days. Bagration replied that he could not accept or not accept a truce, and with a report of the proposal made to him, he sent his adjutant to Kutuzov.
The truce for Kutuzov was the only way to gain time, give Bagration’s exhausted detachment a rest and allow convoys and loads to pass through (the movement of which was hidden from the French), although there was one extra march to Znaim. The offer of a truce provided the only and unexpected opportunity to save the army. Having received this news, Kutuzov immediately sent Adjutant General Wintzingerode, who was with him, to the enemy camp. Winzengerode had to not only accept the truce, but also offer terms of surrender, and meanwhile Kutuzov sent his adjutants back to hurry as much as possible the movement of convoys of the entire army along the Kremlin-Znaim road. The exhausted, hungry detachment of Bagration alone had to, covering this movement of the convoys and the entire army, remain motionless in front of an enemy eight times stronger.

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Type of occupation: Conversation about art.

Target: expanding students' knowledge of the variety of types and genres of fine art, as well as acquaintance with outstanding works of this art and great masters.

Tasks:

• Educational:
  • consolidate knowledge about the types and genres of fine art;
  • continue to work on developing the ability to distinguish between types and genres of fine art;
  • to introduce students to individual genres, the peculiarities of their expression in works of fine art (animalistic genre), to develop students’ interest in the works of animal artists;
  • introduce students to the technique of depicting an animal in motion;
• Correctional and developmental:
  • carry out correction of deficiencies in sensory development of students;
  • to develop the ability to perceive and distinguish the size, shape, position of geometric figures when depicting and conveying the movement of an animal;
  • eliminate deficiencies in drawing technique.
• Educational:
  • continue to cultivate a love for the fine arts;
  • contribute to improving the aesthetic culture of students;
  • instill a love for animals.

Form of work in class: joint-individual, group, collective.

Equipment and materials: multimedia equipment (slides of reproductions of paintings, crossword puzzle), reproductions of paintings, drawings and sculptures by V. Vatagin, poems about the genres of fine art, music recordings, a simple pencil, an album sheet, an eraser.

DURING THE CLASSES

I. Organizational moment

1) Greeting students.

2) Checking the psychological readiness of students for the lesson.

II. Reporting the topic of the lesson, repeating what was previously learned

Teacher. Guys, today we will turn into young artists. Please put on these berets and scarves. Let's look like real artists. Are you ready for the lesson? Sit comfortably and listen to me carefully.

(There is a knock on the door. They bring in a parcel with a letter.)

Oh, some kind of package and letter. Let's read the letter.

I have prepared gifts for those children who will actively work in class and answer the teacher’s questions well and correctly. Good luck to you!

Well, guys, let's try to earn Belka's gifts. We will find out what is there at the end of the lesson.
So, now we will continue to talk to you about the types and genres of fine art.
Since ancient times, as fine art developed, its kinds. Let's remember what it is view? We have repeatedly seen drawings made with pencil or charcoal on paper; paintings painted on canvas, monuments - granite or marble; buildings of churches and museums. As you know, all of these are works of fine art of various types. species.
During our lessons, we looked at various paintings, solved crossword puzzles on our laptop, and today we have a large screen in our classroom. And we will all have a very clear view of all the pictures and tasks.
Please look at the screen and determine what type we classify the presented image as.

(Slide 1. “Painting”) Children's answers: Work done in color, with paints, on a plane.
(Slide 2. “Graphics”) Children's answers: Work done with lines, strokes, on a plane without paint.

– Now look at the images of various structures and buildings and determine what type they belong to.

(Slide 3. “Architecture”) Children's answers: The art of creating buildings, structures, complexes of structures.

(Slide 4. “Sculpture”) Children's answers: Work done in volume by carving, sculpting, casting.

- Well done boys! We remembered kinds fine arts that they studied. Now let's move on to the genres of fine art with which we are familiar.
Let's remember what it is genre.

Genre - these are several special features inherent in works of art, by which we distinguish one of them from others. And depending on what is depicted in the picture, you can determine its genre. In other words, we distinguish genres of paintings by their content.

– Guys, please listen to the poem and guess what genre of fine art we are talking about.

(Slide 7. “Landscape”)

If you see in the picture
A river is drawn
Or spruce and white frost,
Or a garden and clouds,
Or a snowy plain
Or a field and a hut,
scenery. (Image of nature)

(Slide 8. “Still Life”)

– Let’s all read this poem together, pronouncing the words loudly and clearly.

If you see in the picture
Cup of coffee on the table
Or fruit juice in a large decanter,
Or a rose in crystal,
Or a bronze vase,
Or a pear, or a cake,
Or all items at once,
Know what it is - still life. (Image of objects: flowers, game, utensils)

(Slide 9. “Portrait”)

If you see what's in the picture
Is anyone looking at us?
Or a prince in an old cloak,
Or like a steeplejack,
Pilot or ballerina,
Or Kolka, your neighbor,
The picture must be called portrait. (Picture of a person)

(Slide 10. “Battle”)

If you see tanks in the picture
We went into battle like an avalanche
Or fast carts,
Or at sea - ships
Or bayonets shimmering with steel,
The infantry has been raised into battle -
It's called... ( battle)
The genre of paintings is always like this. (Image of military action)

(Slide 11. “Historical”)

A genre of fine art dedicated to significant events of the past and present. (Image of historical events)

(Slide 12. “Marina”)

A genre of fine art depicting a sea view, as well as a scene of a naval battle or other events taking place at sea. It is a type of landscape.

(Slide 13. “Household”)
If you see in the picture
Daily human labor
Behind the counter in a store
Or in a sewing workshop,
At the factory or at school,
Learn this forever -
Genre of the picture –…( domestic)

III. Presentation of new material

– Today in class we will learn about another genre of fine art. This genre is called - animalistic. (Slide 14)
How do you understand this word? Maybe you heard it somewhere (Children's answers). Do you like to watch TV? Is there cable TV? Are you watching the Animal channel? And who is constantly shown there? (Children's answers) Yes, animals. That's why they called this channel “Animal” i.e. translated from English - animals.
Please listen to the poem. (Slide 15)

If you see in the picture
An elephant is drawn,
Crocodile, giraffe, gorilla,
Cat, or python,
Or the animals of Argentina,
Ile Arctic penguin,
So, the genre of such a picture is
Animalistic. (Image of animals)

Images of animals were found on the walls of caves, in drawings and in sculpture of ancient times. Pictures of animals are called animalistic , and artists - animalists .
Let's all read this word from the board together.
Animals were depicted with pencil, paint, charcoal, and one of the Russian animal artists was Vasily Vatagin, who loved animals very much and spent his entire life studying their habits and plasticity, admiring their colors, flexible movements, and expressiveness of silhouettes.

(Slide 16. V. Vatagin).

– Do you know that every animal has its own character? Animals, like people, are brave and cowardly, kind and evil.

(Slides 17, 18, 19 with works by artist V. Vatagin. Review and discussion.)

– Pay attention to how the artist truly conveys all the plasticity and expressiveness of the image of the animal with its character (examining the paintings). The character of the animal is expressed through the movement and shape of the body, swift and flexible or bulky and clumsy (panther, crocodile, bear), graceful or powerful; through proportions: large head, long legs and short legs, arched back, large and small eyes; through expressive details: shaggy and smooth fur, through the shape of the ears, claws, mustaches, the shine of the eyes. The artist not only copies, but emotionally enhances what expresses character, makes visible what he has understood and felt. That is why the artist is attentive to his feelings.

The animal world is majestic and proud. Guys, have you watched the cartoon "Mowgli"? This cartoon was illustrated by animal artist V. Vatagin. (Slide 20)
Consider the following works by the artist.
In one drawing, the artist V. Vatagin created a stern and menacing image of the beast, and in the other, a sad one.

(Slide 21. V. Vatagin. Panther. Ink. Pen.)

In this drawing, in the image of a formidable panther, the artist managed to express his attitude: he admires her strength, powerful body and decisive character.

(Slide 21. V. Vatagin. Hippopotamus. Pencil)

And in this drawing the artist depicted the hippopotamus as slow and clumsy. He managed to draw the animal sad and sad.

– Guys, today we learned about another genre of fine art, where animals are depicted. What is it called? (Children's answers).
– What do you call artists who depict animals? (Children's answers).

Physical education minute(Slide 22)

– Now we will solve a crossword puzzle and test our knowledge about the types and genres of fine art.

(Crossword “Genres of Fine Art” on slides)

- Well done boys! We will return to these terms more than once and use them in classes and in life.

IV. Updating students' knowledge

- Please tell me, guys. Do you like animals? Do you have a pet? We have already said that the artist V. Vatagin loved animals very much and painted only them. Let us also try to draw our favorite animals. We will do the graphic work. What materials do we need for this? (Children's answers).

Take some leaves (1/2 a landscape sheet), a simple pencil, an eraser and try to draw your favorite animal. When starting work, do not forget about the image rules (remember the rules: do not press the pencil, do not wave the pencil, so as not to injure your neighbor).

So, place the sheet vertically or horizontally, as you wish.

I love a cat. (Slide 23) Look how I will draw it. A cat can be affectionate and kind. But if her kittens are in danger, she seems to say with all her appearance: “Don’t come near, beware!” (Slide 24, 25)

We'll look at it first (Looking at a toy cat). Let's compare what geometric shapes the parts of her body resemble: head, torso, ears. The head is in the shape of a circle, the body is in the shape of an oval, the ears are in the shape of triangles.

(Pedagogical drawing on the board. The teacher explains the sequence of drawing and shows examples)

How should we transform these geometric shapes into a cat and convey the cat's plasticity? (Children's answers).

I use smooth lines to connect these geometric shapes and complete the necessary details of the animal.

V. Practical work for children

Tasks: make a graphic drawing of your favorite animal using geometric shapes (use a simple pencil).

Targeted rounds of the teacher:

1) Checking the organization of the workplace by students.
2) Monitoring the correct execution of work techniques.
3) Providing assistance to students experiencing difficulties.
4) Control over the volume and quality of work performed.

- Well done boys! You all did a very good job today. Clean up your workspace.

VI. Lesson summary

1) Exhibition of student works.

2) Self-analysis of students’ activities.

3) Conversation on issues:

– What new did you learn in the lesson?
– Were you able to solve the difficult problem of depicting an animal using geometric shapes?
– Did you have any difficulties at work, how did you overcome them?
– Are you satisfied with your work?
– Which of the presented drawings did you like most and why?

- Well, I think it’s time for us to find out what kind of gifts Belka has prepared for us.

“Hello, young artists!
I have prepared gifts for those children who will actively work in class and answer the teacher’s questions well and correctly. Good luck to you!
Best wishes Belka"

Animalistic genre (lat. Animal - animal) - depiction of animals in painting, sculpture, graphics.

Combines natural science and artistic principles, develops observation and love for nature.

Animals in painting and graphics arouse the same interest among viewers as portraits of famous people. And this is no coincidence. When in the Paleolithic era, more than 30 thousand years ago, people began to depict animals on rocks, world art began. The tradition of preserving images of domestic animals, as well as animals and birds considered sacred, is also rooted in the deep past. We have reached us with bas-reliefs of dogs, lions, bulls and horses of ancient Assyria, bas-reliefs and frescoes with dogs, cats, ibises, crocodiles, baboons, snakes, jackals, falcons of Ancient Egypt, ceramics with drawings of dogs and horses of Ancient Greece and Ancient Rome, sculptural images jaguars, snakes and other animals among the Aztecs and Mayans. The depiction of animals reached the highest level in Ancient China.

The European aristocracy became interested in animalism during the Renaissance. From those times until the twentieth century, many portraits depicted a person with an animal to which he was attached. The Russian elite also showed interest in animalism. Several years ago, the Historical Museum exhibited portraits of dogs presented to the Russian tsars. Count Orlov collected a collection of portraits of his greyhounds and horses. Interest in animalism in a realistic manner has developed in the USA - the works of many animal artists are exhibited at exhibitions held there.

Animalist (from Latin animal - animal)- artist, graphic artist, sculptor, photographer, who mainly devoted his work to depicting animals. An animalist works in the animalistic genre. This is a genre of fine art whose main object is animals. The main task of an animalist can be both the accuracy of the image of the animal and artistic and figurative characteristics, including decorative expressiveness or endowing animals with traits, actions and experiences inherent in people (for example, fables).

Animal artist focuses on the artistic and figurative characteristics of the animal, its habits, and its habitat. The decorative expressiveness of the figure, silhouette, and colors is especially significant in park sculpture, paintings, and small sculptures. Often, especially in illustrations for fairy tales, fables, in allegorical and satirical images, the animal is “humanized”, endowed with traits, actions and experiences inherent in people. Often the main task of an animalist is the accuracy of the image of the animal, for example, in illustrations for scientific and popular science literature. From sculpture, animalistic ceramics are widespread.

The animal world is infinitely diverse and colorful. How brightly colored, for example, the feathers of many birds are, how colorful the wings of butterflies sparkle. But drawing animals is not so easy; they won’t pose. The animalist has to diligently observe and study their habits and character.

Famous animalists:

Yi Yuanji (c. 1000 - c. 1064) was a Chinese artist especially known for his skill in painting monkeys.

Zhu Zhanji (1398-1435) - Chinese emperor and master of drawing dogs and monkeys.

Frans Snyders (1579-1657) - Flemish painter.

Jan Veit (1611-1661) - Flemish artist and engraver.

Paulus Potter (1625-1654) - Dutch painter.

David Koninck (1636-1699) - Flemish painter.

Karl Kuntz (1770-1830) - German painter and engraver.

Eugene Delacroix (1798-1863) - French painter and graphic artist.

Pyotr Klodt (1805-1867) - Russian sculptor.

Philippe Rousseau (1816-1887) - French painter.

Brighton Riviere (1840-1820) - English painter.

Franz Marc (1880-1916) - German expressionist painter.

Vasily Vatagin (1883-1969) - Russian painter and sculptor.

Evgeny Charushin (1901-1965) - Russian graphic artist, Honored Artist of the RSFSR.

Konstantin Flerov (1904-1980) - Russian paleontologist, graphic artist and painter, Doctor of Science.

Nikolai Kondakov (1908-1999) - Russian biologist, illustrator, candidate of sciences.

A few words about some of them:

Christophe Drochon

Born in France, on the outskirts of Paris, in 1963, his talent as an artist was not immediately noticed. Christophe's schoolteacher even told his mother that her son would never achieve great success in painting. But this did not cool his passion for art - Drochon enthusiastically devoted all his free time to independent painting and, thanks to his talent and hard work, proved that the school teacher was wrong. The future artist spent his childhood in Paris; he did not see wildlife and knew nothing about the natural habitat of wild animals. But when Christophe went to school, his family settled near the Vincennes Zoological Park, and in the summer they traveled to the southwest of France. There he spent a lot of time carefully observing animals and making sketches. His interest in nature grew, and his observations taught him to deeply understand and empathize with animals. Drochon's stunning works, his skill and technique for realistically depicting animals delight and fascinate nature lovers. However, his depiction of animals is different from the usual. In his works, animals and landscape always serve as symbols to express the artist's ideas and illustrate his emotional state. He tries to convey to the viewer an awareness of the impermanence of the world. In many of his drawings, the eyes of animals are very expressive, which makes the essence of living nature more tangible and brings us closer to self-knowledge.

Sonia Reid

Born in the USA in Cullman in 1964. She studied at Auburn University. In 1988, she successfully graduated from Winfrop College with a Bachelor of Noble Arts degree and worked as an interior designer for 8 years. Sonya has always loved animals and enjoyed the beauty of nature. Deciding to devote all her time to depicting them, she leaves for Africa. Having visited the famous Ngoro-Ngoro crater in Tanzania, Sonya fell in love with the nature of this continent. Africa became her passion. In her oil and graphite paintings, she tries to show everything that touched her soul and encourage viewers to protect and glorify wild nature. Her paintings have won numerous awards at numerous exhibitions. Another passion of the artist is photography and collecting books about Africa and its nature.

Dan D. Amico

Dan lives in a mountain valley near Rocky Mountain National Park in Colorado. Dan's interest in art began very early. He spent so much time drawing horses and rabbits that his parents, in an attempt to save paper, gave him a chalk board. While studying at the High School of Art, Dan developed an interest in impressionism. He felt a special kinship with the art of Claude Monet and admired the art of Andre Vieta, whose style greatly influenced Dan’s further work. Originally self-taught, Dan completed a master class with Robert Bateman in 1991 and then studied with renowned artist Bob Kuhn, as... believes that an artist must learn, grow and experiment throughout his life. One of the main tasks of an artist, according to Dan, is to share the beauty of the world around him. He says, “If I can move someone to appreciate the play of light on damp autumn grass, I feel like I can touch their soul. The viewer cannot experience a moment of inspiration, he can only come into contact with the picture, passing it through his own sensations.” Dan tries to create a mood by evoking reciprocal feelings or memories. In his works, he tries to truthfully convey not only the appearance of the animal, but also its feelings. In 1991, Dan was elected a member of the Animal Artists Organization.

animal painting canvas

Nikolai Nikolaevich Kondakov

Born in 1908 in the city of Ryazan. After graduating from school, he entered the biology department of Moscow State University. He began his career while still a student at the Murmansk Biological Station. After graduating from university, he worked in many research institutes in Vladivostok, Moscow and Leningrad. In the 20s of the 20th century he defended his PhD thesis on the study of squid. He took part in many expeditions. His main contribution to biological science was his drawings of various representatives of the fauna. These illustrations were included in many publications, such as the TSB, the Red Books of the USSR, the RSFSR, animal atlases, and teaching aids. In total, Kondakov made several tens of thousands of drawings during his life.

Flerov Konstantin Konstantinovich

Evgeniy Ivanovich Charushin

(October 29 (November 11, old style) 1901, Vyatka, now Kirov - February 18, 1965, Leningrad) - Soviet graphic artist, sculptor and writer. Honored Artist of the RSFSR (1945). The son of the architect I.A. Charushina.

Vasily Alekseevich Vatagin

(1883/1884 - 1969) - Russian and Soviet graphic artist and animal sculptor. People's Artist of the RSFSR (1964). Full member of the USSR Academy of Arts (1957). Winner of the Stalin Prize, third degree (1952). Professor of the Moscow Higher Art and Industrial School (formerly Stroganov School).

Literature

1. website dic.academic.ru

Encyclopedia "Around the World"

Vatagin V.A. Image of an animal. Notes of an animalist. - M.: Svarog and Co., 1999.

Dixon D. Dinosaurs. Illustrated encyclopedia. - M.: Moscow Club, 1994.

Komarov A. Stories of an old devil. - M.: Armada, 1998.

Smirina V. and Yu. Animals in nature. - M.: Armada-Press, 2001.

Animalistics (Animalistic genre), sometimes also Animalism (from the Latin animal - animal) -

genre of fine art

The main object of which is animals, mainly in painting, photography, sculpture, graphics and less often in decorative arts. Animal art combines natural science and artistic principles. The main task of an animalist can be both the accuracy of the image of the animal and artistic and figurative characteristics, including decorative expressiveness or endowing animals with human traits, actions and experiences (for example, fables).

From sculpture has a distribution

animal ceramics

Stylized figures of animals are found among the monuments of the animal style (en), in the art of the Ancient East, Africa, Oceania, ancient America, and in the folk art of many countries.

History of animal art

Artists working in the animalistic genre are called animalists. Animals in painting and graphics arouse the same interest among viewers as portraits of famous people. And this is no coincidence. World art began with animal painting, when in the Paleolithic era, more than 30 thousand years ago, people began to depict animals on rocks. The tradition of preserving images of domestic animals, as well as animals and birds considered sacred, is also rooted in the deep past. We have reached us with bas-reliefs of dogs, lions, bulls and horses of ancient Assyria, bas-reliefs and frescoes with dogs, cats, ibises, crocodiles, baboons, snakes, jackals, falcons of Ancient Egypt, ceramics with drawings of dogs and horses of Ancient Greece and Ancient Rome, sculptural images jaguars, snakes and other animals among the Aztecs and Mayans. The depiction of animals reached the highest level in Ancient China. There are known images of dogs similar to chow chows dating back more than two thousand years. Even today we admire the animalistic graphics of Chinese masters. The European aristocracy became interested in animalism during the Renaissance. From those times until the twentieth century, many portraits depicted a person with an animal to which he was attached - a horse, a dog, a cat. Paintings by such famous artists as Paolo Veronese, Jean-Baptiste Oudry, Van Dyck, Gainsborough, Titian Vecellio, Antonio Moro, Rosalba Carriera, George Stubbs, Henri-François Riesener and many others, depicting people with their pet animals - at least These artists never positioned themselves as animal painters, but are included in the collection of masterpieces of world painting.

The Russian elite also showed interest in animalism. Several years ago, the Historical Museum exhibited portraits of dogs presented to the Russian tsars. A sculpture was made from Catherine the Great's Italian greyhound, which is now kept in Peterhof. And in Borovikovsky’s painting the empress is depicted with her other Italian greyhound. Count Orlov collected a collection of portraits of his greyhounds and horses. Portraits of a man and an animal were painted by Bryullov, Makovsky, Serov, Serebryakova, and other famous Russian artists, not only with a dog, but also with horses, and even with tamed wild animals. Russian animal artists, that is, those who paint mainly animals, are also known throughout the world - Stepanov, Vatagin, Efimov, Laptev, Charushin. In the second half of the twentieth century in Europe, masters of realistic portraiture, including animalistic ones, began to be crowded out by representatives of “modern art”. Among the animal artists was, for example, Hirst, who exhibited a cow, a shark, etc., preserved in formaldehyde. But interest in animalism in a realistic manner developed in the USA - the works of many animal artists are exhibited at exhibitions held there