Key stage 1 art: KS 1 Art and design scheme of work

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Study Art & Design in Key Stage 1

Topics

By Julie St Clair Hoare

Get creative with Hamilton’s hands-on art and design topic sessions for key stage 1.

The national curriculum for art and design aims to ensure that all pupils:

  • produce creative work, exploring their ideas and recording their experiences
  • become proficient in drawing, painting, sculpture and other art, craft and design techniques
  • evaluate and analyse creative works using the language of art, craft and design
  • know about great artists, craft makers and designers, and understand the historical and cultural development of their art forms.

Cross-curricular topics are a fantastic way to cover the art and design curriculum, allowing children to engage creatively with different areas of the curriculum at the same time. Music can complement painting. History can be enhanced by model making. Sculpture can elaborate geographical concepts.

Here are a few of our favourite art and design opportunities in KS1 topics:

Our Carnival of the Animals topic is organised around the popular work of composer Saint-Saëns. Each block focuses on a different area, including, mammals, birds, fish, reptiles, amphibians and fossils around the world. Within each block there are plenty of brilliant art and design opportunities, including:

  • Mammals — Produce a piece of art work in the style of Aboriginal Art to go in an Art Gallery for visitors to the Safari Park.
  • British Birds — Examine the work of the artist Claude Monet and use some of his techniques as a source of inspiration for their own artwork.
  • Exotic Birds — Be inspired by the work of Gaudi, learn about Art Nouveau and develop artistic skills by making mosaic art.
  • Fish — Create large fish stick puppets, props and back drop.

Explore Carnival of the Animals for KS1.

Changes within Living Memory gets children to explore the ways in which life has changed over the time of our parents, grandparents and great-grandparents. The topic provides plenty of opportunity to engage with art and design, including:

  • A Day in the Life — Study clothes and hairstyles over the last fifty years and then paint a portrait of a relation.
  • Transport — Create artwork using printing with toy vehicles. Recognise the name Jackson Pollock as a famous artist.
  • Toys and Books — Look at paintings of toys, old and new. Study different art techniques and create toy paintings. Explore the illustrations in children’s books and how these have changed in style and content over the last 50 years. Replicate the style of a current illustrator.
  • Music — Listen to music from the 60s and 70s and then create posters in the style of the times.

Explore Changes within Living Memory for KS1.

Using our exciting Oceans and Seas topic children build their knowledge of oceans and seas around the world. There are lots of opportunities to use art and design to enhance and reflect pupils understanding of the qualities and life of the seas.

  • Oceans and Seas of the World — Explore the the stormy seascapes of J. M. W. Turner, and then use a variety of techniques (including using salt, blotting and colour mixing) to create textured watercolour paintings.
  • Atlantic Underwater World — Create a sculpture of the marine life found in the Atlantic Ocean and recognise the difference between two- and three-dimensional shapes and art works.
  • Pacific Underwater World — Use colour-wash and 3D sculpture techniques to create a Great Barrier Reef display. Experiment with different types of sculpture using a variety of media and understand how to change colour to a different tone.
  • Boats and Ships — Sketch boats for a timeline and use watercolours to paint a picture of a ship with a specific purpose.

Explore Oceans and Seas for KS1.

In the popular Castles block of our We Are Britain topic, children discover the castles around the British Isles. Capture the range of castle architecture using different art and craft techniques. Examine the painting Castle and the Sun by Paul Klee and compare the image to real castles in the UK and then recreate the image using crayons and watercolours.

Explore We Are Britain — Castles for KS1.

In our block about St Paul’s Cathedral in the Great Fire of London topic charcoal drawing and potato printing are used to develop artistic ideas inspired by St Paul’s. Children also have the opportunity to design, make and decorate a model Cathedral.

Explore Great Fire of London — St Paul’s Cathedral for KS1.

Our Artists block in Famous for More than Five Minutes is dedicated to learning about the life, times and paintings of Vincent Van Gogh and L.S. Lowry. Children learn about the nineteenth-century Van Gogh and the twentieth-century Lowry, discuss their art and then create their own paintings ‘in the style of. ..’.

Explore Famous for More than Five Minutes — Artists for KS1.

Key Stage 1 & 2

Set Projects for Key Stage 1 & 2

Here are a few tried and tested projects that were designed with primary schools in mind but could easily be adapted for older children. Most lesson would be 60 to 90 minutes long but that is dependant on how many children are in the class and what materials are being used so get in touch for an exact timescale and price.

Here is a quote from the Art Co-ordinator at Our Lady Immaculate Primary School -Everton:
«Working with Hannah has been inspirational for both pupils and staff across the school, she worked closely with the children supporting them in formulating their ideas and designs. Hannah’s enthusiasm and passion for developing young artists was paramount in her professionalism, she demonstrated her ability to work in a busy school with children from Foundation Stage, Key Stage One and Key Stage Two. Children explored the design process through the medium of mosaic and Hannah was able to creatively include the children’s ideas in a final piece which depicted the school’s catholic ethos. Hannah engaged the
children from beginning to end, she shared her own work as an artist and spent time discussing and explaining her pieces. Age appropriate workshops were delivered to a high standard, supporting the schools implementation of the Art National Curriculum, developing skills and promoting independent and creative thinking.»

Drawing Skills

These lessons go back to the very basics of drawing and how to use materials such as charcoal and paint. Lessons are broken down into simple steps, by the end of the project children should have a better understanding of tone and shading, proportions of a face, perspective, and how to mix secondary colours and different skin tones.

Lesson 1: Observational line drawing
Lesson 2: Tone and shading
Lesson 3: Colour wheal and colour mixing including mixing skin tones.
Lesson 4: Drawing people
Lesson  5: Drawing movement
Lesson 6: Perspective (KS2) or Landscapes (KS1)

It is possible to teach this lesson to two classes within a half day which means that 60 children could do this course for £720

Art History

Looking at the famous European artist from 1860 to 1960. These can be swapped for different artists if desired. 

Lesson 1: Impressionism (Claude Monet)
Lesson 2: Secessionism (Gustav Klimt)
Lesson 3: Cubism (Pablo Picasso)
Lesson 4: Futurism (Giacomo Balla)
Lesson 5: Surrealism (Salvador Dali)
Lesson 6: Pop Art (Andy Warhol)

•

World Art

Each lesson we will look at art from a different culture.  Then we produce art inspired by the native art of that country.Week 1: Japanese Fans
Week 2: Aboriginal dot painting
Week 3: Central African pots
Week 4: Moroccan Mosaics
Week 5: Egyptian Hieroglyphics
Week 6 : Central American Totem Poles

Art Techniques

This is a fun course that gives the children a little introduction to lots of different methods used to make art.

Week 1: Printmaking
Week 2: Wax resist
Week 3: Clay sculpture
Week 4: Wire sculpture
Week 5: Land art (outdoor lesson)
Week : Paper mosaic

Portraits

This project starts with learning how to draw a face accurately and then pupil’s builds on that knowledge by experimenting with different materials.

Lesson 1: Drawing faces- a step by step lesson on getting the proportions right using pencil and charcoal.

Lesson 2: Pop art style portraits

Lesson 3: Making clay heads

Lesson 4: Collage portraits

3D History

This project is designed to fit in with a school’s history project such as ‘World War 2’ the aim is to make several scenes from a specific period in history using different materials.

Lesson 1: Creating Characters (pupils are given a historic character’s name and identity and it is up to them to write a sentence about their character’s personality and to draw them)
Lesson 2: Making characters from clay.
Lesson 3: Painting characters and designing the set.
Lesson 4: Building the scenery for their clay characters.

Junk Box Animals

A really fun project where children get to experience working in 3D.

Lesson 1: using boxes to make animals (can be done in small groups or with whole class depending on ability)
Lesson 2: Papier- Mache layer
Lesson 3: Modroc layer
Lesson 4: Painting the animals

  

Breeze Block Sculpting
 (minimum age year 4)

This is a really fun sculpture project! Using a hammer a chisel to create and animal or face on a breeze block. 5 children at a time minimum session time 1 hour 45 mins. For a class of 30 to do it it would take 2 days. Sculptures can then be painted.

Guidance for Primary Art Subject Leads

Being an Art Lead can be exciting but it can also be challenging, especially if your experience in art is limited. Find guidance and information below to help support your role.

 

AccessArt believes all children have the right to an excellent and rigorous art education. 
But we need to acknowledge that teachers and schools are under incredible pressure from all sides. We recognise that in many schools, specialist primary art teachers are now a thing of the past, and that many teachers have limited experience in teaching (or studying) art.
We want to make it possible for ALL schools to deliver a great art education for their pupils. We offer the resources below in good faith, and we hope the information below helps less experienced art teachers to feel comfortable and inspired in delivering an exciting art curriculum. We are here to help so please

get in touch! 

If you are looking for curriculum support in art it ‘s important that you choose an organisation or company which has a similar ethos or values to yourself. Here’s what we stand for at AccessArt.

AccessArt advocates:
  • Before we decide

    what* and how** we teach within the umbrella of “art”, we should remember why we are teaching art in the first place. At AccessArt we remind everyone that we teach art because it is one way we can enable children to reach their creative potential. Every child is entitled to develop their critical and creative thinking skills, and to build their knowledge and understanding of materials and techniques, developing their experience of how they can make a creative response to a variety of stimulus, and our role as teachers is to facilitate this journey. So for AccessArt, remembering our core aim is to enable creativity, we place an emphasis on encouraging exploratory journeys, working towards varied and individual outcomes. 

  • Art teaching should be aspirational yet accessible. We specialise in creating resources which help all teachers, including non-specialist teachers, to feel confident and enable to deliver inspirational activities to all children. You do not have to be “good at art” to be a great art teacher – you only need to be willing to explore, alongside your pupils, modelling an attitude of curiosity, open-mindedness, creative-risk taking and reflection.

     

  • Our offering to pupils should be broad and rich, contemporary and diverse. By keeping our understanding of all discipline areas (drawing, painting, printmaking, sculpture etc) as open as possible we ensure that we keep art as inclusive and accessible to every child. 
  • Teaching art can and should be as rigorous and disciplined as any other subject. Enabling open-ended creative learning actually requires teachers to understand the structures and spaces pupils need to work to their best. 
  • That we build skills and knowledge through a combination of opportunities for repeated practice and new projects. Art is subjective and experiential – and there are many types of “knowledge” all of which are best understood when the knowledge is embedded in experience. 
  • We cannot and should not apply the same metrics to art as to other subjects. Art is a unique subject to teach/facilitate and we should embrace that fact. 
  • Through enabling pupils to think about the purpose of art and artists to all our lives, we will ensure that as children grow they feel entitled to express and better understand themselves (and the world in which they live) through making and talking about art.

    Through this creative entitlement we help nurture citizens who feel empowered to help shape community and society for the better. 

 

What* – As guided by the National Curriculum for Art & Design 

How** – As inspected by Ofsted

Find out how you can use AccessArt resources to supplement and develop your existing art curriculum. 

AccessArt offers CPD designed to inspire and enable. Find out more about our rolling programme of ticketed zoom CPD, led in-house and in collaboration with experts in the field, and learn more about tailored CPD for schools. 

How Do Non-Specialist Teachers Teach Art?

How Do We Assess Art?

Why Visual Literacy Is An Important Skill

What Is Drawing?

Making Is Hard

How Do We use Artists in schools?

See More Pedagogy Animations

That schools consider teaching art & design at Key Stage 1 and 2 as a distinct subject.

Whilst we appreciate many schools approach art in a project or theme-based manner, our experience is that when art is taught as a distinct subject in a skills-based manner there is clearer progression and the teaching and learning is more rigorous. We do appreciate that art provides an excellent way to enrich the currciulum and link to other curriculum areas. Links to themes or projects can still be made, but from a position of far greater strength and understanding. 

That schools work hard to break down preconceptions amongst teachers and pupils as to what drawing or sculpture (for example) is or might be. Preconceptions can stifle creativity. If we take the lid off art and design we can allow the subject to flourish. Experimentation, risk, and innovation should be encouraged.

Art is a large subject area and you cannot possibly cover everything – its for you to decide as a school what you teach whilst meeting the aims of the national curriculum. Elements such an exploration of line, colour, form shape etc are woven throughout the disciplines.

It might be helpful to think about subject areas as being: Drawing, Sketchbooks, Printmaking,  Sculpture, Design, Painting, Craft, Textiles, and Digital.

Please explore each of the subject areas above for further guidance and links to resources/lessons plans.

That teachers and schools to raise their expectations as to what pupils are capable of in the visual arts. This can happen in a very practical way: for example through the introduction of a wider variety of materials from the outset, pupils can and do quickly build their understanding and skills.

That schools should be less focussed on outcome and more focussed on the creative journey. When schools work towards a predefined, prescribed outcome (i.e. in the case of a display) the understanding and learning of pupils can be compromised. Ofsted recognises that work which looks great at first glance can often hide poor learning outcomes.

Instead schools should work to create confident, independent artists who can articulate and value their own creative journeys.

We suggest that each term children should be given the opportunity to explore a variety of polarities:
  1. Traditional skills should be balanced with experimental work.
  2. Small scale work should be balanced with large scale work.
  3. Quiet reflective study should be balanced with active, dynamic work.
  4. Individual work should be balanced with group work.
  5. Two dimensional work should be balanced with three dimensional work.
  6. Study of historical “great” artists should be balanced with contemporary artists.
In addition children should be given the opportunity to experience:
  1. How it feels to take creative risks as opposed to playing it safe
  2. That chaos and mess can be productive for some people
  3. Both female and male creative role models (including visits from artists/visits to galleries/artists studios)
  • That for many schools, an ongoing exploration of materials will provide an accessible and effective starting point.

    This exploration (of materials used for drawing, sculpture, painting, printmaking etc) will help the children grow in confidence and understanding and promote self-directed learning. Manipulating materials helps children explore processes, and these in turn can be applied to concepts. Many of the resources in the subject areas (see links above or below) centre around an exploration of materials and processes.

You might want to consider:
  • A whole-school activity. For example, all year groups might explore charcoal. Each class and individuals within the class will naturally explore at his or her own level. Fundamental exercises can be experienced by all ages, and repeated by all ages, as part of their practice. There is no need for a “progression of activity” as such – children will naturally progress once they have repeated access to a material, process or concept.

That schools consider teaching art & design at Key Stage 1 and 2 as a distinct subject.

Whilst we appreciate many schools approach art in a project or theme-based manner, our experience is that when art is taught as a distinct subject in a skills-based manner there is clearer progression and the teaching and learning is more rigorous. We do appreciate that art provides an excellent way to enrich the currciulum and link to other curriculum areas. Links to themes or projects can still be made, but from a position of far greater strength and understanding. 

That schools work hard to break down preconceptions amongst teachers and pupils as to what drawing or sculpture (for example) is or might be. Preconceptions can stifle creativity. If we take the lid off art and design we can allow the subject to flourish. Experimentation, risk, and innovation should be encouraged.

Art is a large subject area and you cannot possibly cover everything – its for you to decide as a school what you teach whilst meeting the aims of the national curriculum. Elements such an exploration of line, colour, form shape etc are woven throughout the disciplines.

It might be helpful to think about subject areas as being: Drawing, Sketchbooks, Printmaking,  Sculpture, Design, Painting, Craft, Textiles, and Digital.

Please explore each of the subject areas above for further guidance and links to resources/lessons plans.

That teachers and schools to raise their expectations as to what pupils are capable of in the visual arts. This can happen in a very practical way: for example through the introduction of a wider variety of materials from the outset, pupils can and do quickly build their understanding and skills.

That schools should be less focussed on outcome and more focussed on the creative journey. When schools work towards a predefined, prescribed outcome (i.e. in the case of a display) the understanding and learning of pupils can be compromised. Ofsted recognises that work which looks great at first glance can often hide poor learning outcomes.

Instead schools should work to create confident, independent artists who can articulate and value their own creative journeys.

We suggest that each term children should be given the opportunity to explore a variety of polarities:
  1. Traditional skills should be balanced with experimental work.
  2. Small scale work should be balanced with large scale work.
  3. Quiet reflective study should be balanced with active, dynamic work.
  4. Individual work should be balanced with group work.
  5. Two dimensional work should be balanced with three dimensional work.
  6. Study of historical “great” artists should be balanced with contemporary artists.
In addition children should be given the opportunity to experience:
  1. How it feels to take creative risks as opposed to playing it safe
  2. That chaos and mess can be productive for some people
  3. Both female and male creative role models (including visits from artists/visits to galleries/artists studios)

National Curriculum Art & Design

Drawing Together: Art, Craft & Design in Schools (Ofsted)

Making a Mark: Art, Craft and Design Education (Ofsted)

NSEAD

BBC Your Paintings

Getty Open Content Programme

Avant-garde — the art of revolution • Arzamas

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Materials

Memory of the war: a propaganda myth against the «trench truth»

How the image of the war changed from Stalin to Gorbachev and what Pasternak, Slutsky, Samoilov and Okudzhava thought about it after

Harassment of writers, directors in the USSR

Who invented «rootless cosmopolitanism» and why the authorities attacked Eisenstein, Akhmatova and Shostakovich

Khrushchev’s thaw — the dismantling of the Stalinist system

How de-Stalinization was carried out and what does it have to do with Solzhenitsyn, Khutsiev, foreign students and the Moskva pool

Farmers, Beatles, Pepsi-Cola: Soviet youth and the West

How Soviet people fell in love with the West culture in the atmosphere of the Cold War

Khrushchevs, shortages, leisure: everyday life and consumption in the times of “developed socialism”

How the Soviet people of the 1970s coped with the lack of goods, space and time

Physicist as a new cultural hero: scientific and technical intelligentsia and its values ​​

Strugatsky and Shurik, KVN and KSP, freethinking and structuralism, Sakharov and Solzhenitsyn as a new cultural mainstream

Stagnation, dissidence, underground 9000 games repressions and the response to them: the political culture of the «long seventies»

Perestroika, rock and social art: the exit of culture from the underground

How the 1980s became a time of change and what does it have to do with Prigov and Kabakov, Tsoi with Shevchuk and Gumilyov with Nabokov

Where to learn more about Russia from the war to perestroika

Memoirs of dissidents, a monograph about the Beryozka store, a site with music «on the bones» — and other recommendations

Key images of Russia from the war to perestroika

From Stalin in the grave and Thaw cinema to the installation of Kabakov and the putsch of the State Committee for the State of Emergency

Rurikovich: from the conscripted Varangians to the ruling dynasty

How the Scandinavian family became the Russian dynasty

Baptism of Russia and the heritage of paganism

Why Vladimir chose Christianity

Byzantium and Russia

What and why borrowed Russia from Constantinople

What is Old Russian literature

annals, religious treatises, lives and the word about Igor Regiment

The first saints and the birth of the Russian icon

Who and for what were canonized in the first centuries after the baptism of Russia — and how they were portrayed

Russia between the West and the nomads

How Russian princes intermarried with Western kings and steppe leaders

The Mongol yoke and its consequences

How the Horde changed Russia

Where to learn more about Ancient Russia

Scientific pop about the yoke, a textbook on the history of icon painting, the study of princely names and other recommendations

Key images and 9004 contemporary works descendants — from chronicle miniatures to Bilibin’s postcards

Moscow kingdom: collecting lands and forming autocracy

How the Moscow prince became the king of all Russia

Kremlin as a new center of the state

as Russian and Italian architects built a symbol of the Moscow kingdom

The heyday of Russian icon painting

Feofan Grek, Andrei Rublev and Dionysius

Grand Duchy of Lithuania and Russian lands

Fate of the Eastern Slavs in Lithuania and Poland

Church reform of the 17th century and the schism

How different approaches to sacred texts led to a cultural conflict

Archpriest Avvakum: medieval consciousness and the consciousness of modern times

How a schismatic’s autobiography expressed the contradictions of the era

Tatars and Russian culture

How different nations learned to live in one state

The beginning of secular culture: poetry, theater and newspapers

Alexei Mikhailovich and European influence

Where to learn more about Moscow influence

Guide to the Assumption Cathedral, a guide to the history of the Tatars, a collection of Novgorod frescoes and other recommendations

Key images of Muscovite Russia

Works of contemporaries and representations of descendants — from Rublev’s Trinity to Vasnetsov’s watercolors

Cultural reforms of Peter the Great

Rejection of traditions and turn towards Europe

St. Russian capitals

Court life as a performance: from Versailles to Tsarskoye Selo

How country residences, theater and masquerades created the image of the Russian monarch

Nobles of the 18th century: from the servants of the throne to the opposition

How the new nobility became the intellectual elite

The formation of Russian painting: a portrait of the 18th century

How Levitsky, Rokotov and Borovikovsky created new art

: the emergence of national mythology 1812 How Russian society realized itself as a single nation

French influence: Enlightenment and freethinking

Why French culture was an example for Russian society in the late 18th — early 19th centuries

Pushkin and the phenomenon of national genius

Why Pushkin became the main Russian poet

Where to learn more about Russia from Peter to the Decembrists

Scientific pop about courtiers, a study of Peter’s amusements, websites about 1812 and other recommendations from

Peter to the Decembrists

Works of contemporaries and descendants — from the allegorical engraving with Peter to Pushkin by Repin

The search for the Russian idea and the concept of nationality

Where did the main historical and philosophical concept of the 19th century come from and what did it mean? When and why educated people opposed themselves to the state

Folklore and a surge of interest in the culture of the common people

Kireevsky, Dal and Nekrasov in search of ancient traditions

Russian writer in the West

How Gogol fell in love with Europe, Herzen became disillusioned with Europe, and Europe fell in love with Tolstoy and Dostoevsky

Tchaikovsky and the Mighty Handful: a dispute about Russian music magazines and newspapers: literature in pursuit of progress

How writers and critics became the most influential people in Russia and what does the reforms of Alexander II have to do with it

Where to learn more about Russia in the 19th century

Studies on railways, Repin’s memoirs, illustrated essays on Russian life and other references

Key images of Russia in the 19th century

From a posthumous portrait of Pushkin to a photograph of the first railway

Wanderers and others: peasants in Russian painting 9003 Volga, sorcerers at a wedding and contemplators in the forest: common people in 19th-century paintings

From decadence to futurism: the Russian Silver Age and European influences

How Russian culture caught up with Western culture at the turn of the century

Solovyov, Berdyaev and others: Russian religious philosophy

How the intelligentsia stopped being ashamed of religion

Symbolism in poetry, music and painting

Popular God-seeking: Tolstoyans, Khlysts and other sects

How ordinary people tried to know God without the help of the church

Collectors and patrons — the creators of the art of the Silver Age

How the Shchukins and Morozovs changed the path of Russian painting

The heyday of Russian ballet: Diaghilev and the Russian seasons

How Bakst and Nijinsky, Stravinsky and Pavlova, Fokine and Balanchine made Russian ballet famous all over the world

Director’s theater: Stanislavsky , Meyerhold

How Russian directors became more important than actors and playwrights

World War I and Russian culture

Patriots and pacifists: how the war changed Russian poets and artists

Where to learn more about the Silver Age

Memoirs of Witte and Benois, a study of Russian sects, a textbook on the history of the theater — and other recommendations

Key images of the Silver Age

From Vrubel and the first productions of Chekhov to Malevich and the February Revolution as 9003 new religion

What did the Bolsheviks believe in and why there could be no compromise between the old and the new world

Avant-garde is the art of revolution

How Malevich, Eisenstein, Meyerhold and the constructivists got the opportunity to change the world

The creation of a new Soviet man

How the Bolsheviks turned a man into a machine, what they wanted from children and why pioneers were needed

Socialist realism as an artistic style and as an instrument of power

Why Prokofiev welcomed social realism and are there any interesting socialist realist novels

Stalinskaya Moscow as a dream of socialism

The Palace of Soviets, the garden city and other urban planning ideas that came true and did not come true in the 1930s

The cult of Stalin in the USSR

How the leader of the USSR became a leader, a sage, a prophet and almost an artist

The Great Terror and Soviet literature

How Bulgakov, Platonov, Gaidar and Tvardovsky searched for a language to describe repressions

The first wave of emigration: Russian culture abroad 90. 04 90.04 Tsvetaeva and Nabokov abroad: exile, an attempt to survive or a spiritual mission?

Where to learn more about Russia between the revolution and the war

Memoirs of foreigners about the USSR, an encyclopedia of the Russian avant-garde, a map of repressions — and other recommendations

Key images of Russia between revolution and war

From the Tatlin Tower and Meyerhold’s performances to Stalin’s portrait and Mandelstam’s prison photograph

Lecture 2 of 8

How Malevich, Eisenstein, Meyerhold and the Constructivists were able to change the world

Author Yan Levchenko

In 1919, the Bolsheviks were preparing to hold the Second Congress of the Comintern, but they were already dreaming of the next, third. To hold it, the development of a grandiose monument of a new era was ordered — a tower of unprecedented size. Artist Vladimir Tatlin and several of his assistants made in 1920 two demonstration models, consisting of three inclined cylinders connected by two helical rods. The building left the Paris Eiffel Tower far behind as a symbol of the industrial 20th century. The 400-meter-high building with rotating parts, inside which the entire leadership of the Comintern was supposed to fit, plus the editorial offices of newspapers, radio and a film studio with a projection screen facing the street, was designed to embody the most daring claims of the Bolsheviks. The notorious utopian nature of the project corresponded to the scale of the world revolution. Even remaining a model, Tatlin’s tower convincingly expressed the changes that had taken place in culture. The avant-garde was the engine of these changes.

Vanguard means «vanguard» in the language of war. This concept began to be applied to art in France in the second half of the 19th century. In Russia, the avant-garde declared itself at the end of the 1900s: as a rule, independent, original Russian art is counted from it against the background of two centuries of imitation. A little earlier than painting, Russian literature made its breakthrough, creating the philosophical novel of Tolstoy and Dostoevsky — a great form that had no correspondence in world literature.

Fine arts were inspired by the latest Western trends, whose representatives were brought to Russia by collectors like Sergei Shchukin. However, this was not an imitation. The very idea of ​​a sample was a thing of the past, it was replaced by an orientation towards innovation. Literary symbolism, which made itself known as early as the 1890s, also became a harbinger of conceptual changes in Russian art. The Russian avant-garde took from him the idea of ​​merging art and life, or the so-called life creation. For the Symbolists and avant-garde artists, art was not just a job, but the body and soul of an artist whose mission was to fuse art and life.

The novelty of the avant-garde is not in ideas, but in the degree of their radicalness, sources of inspiration, in expressive means. The avant-garde relied on phenomena “low” for the educated class: popular prints, primitives, urban advertising, right down to the inscriptions on the fences. At the same time, Russian icon painting was of great importance for the avant-garde, not depicting the visible world, but expressing what is inaccessible to physical vision. Abandoning naturalism, the avant-garde turned to spiritual questions, even if they were sometimes expressed in shockingly primitive language. At 19In 10, the first exhibition of avant-garde artists took place — «Jack of Diamonds». Its name was already scandalous: a red rhombus, similar to a diamond suit, was sewn onto the uniform of a convict in tsarist Russia.

In addition, the avant-garde wanted to instantly transform the world with the power of art — total, like the revolution that the Bolsheviks spoke about. For example, it was required by the means of painting itself to state its end. As a result, in 1915, Kazimir Malevich presented Black Square at the futuristic exhibition «0.10». It was a new icon hanging in the «red corner», and at the same time — a window into space, a black hole, mystery and emptiness, the beginning and end of all the colors of the palette. A spot of black paint provoked a search for meanings: under it, they stubbornly tried to recognize the emerging drawing or text.

The avant-garde did not have an ordered system, but was a collection of schools and directions with overlapping, but often opposite programs. The Russian avant-gardists were united by the fact that they groped their way to a non-objective form in different ways and sought to radically transform the language of art, to force it not only to destroy the old rules, but to understand how they arise, how they change. Inspired by the primitive, calling for spiritual insight, striving for a synthesis of art and life, the Russian avant-garde gave rise to an intellectual concept that sets the trajectory for the development of culture in the 20th century. This is the concept of art as a theoretical project, in which the idea behind art becomes more important than a particular work and its artistic features. In the absence of support from art criticism, the avant-garde decided to serve itself in the field of theory, anticipating the intervention of contemporary art in the field of philosophy and politics, its convergence with advertising, media, and technology.

The revolutionary upheavals of 1917 brought the avant-garde artists to the forefront of a new life. Salon modernism for the «tops» of society and popular culture for the «lower classes» are hopelessly behind the rapidly changing society. Aimed at the future, the avant-garde offered its own language to the victorious proletariat, in particular monumental abstraction. By May 1, 1918, the cubist David Shterenberg, who returned from abroad, decorates the facade of the Winter Palace with the figure of a worker. A grand event will be the design by Yuri Annenkov of The Capture of the Winter Palace staged by Nikolai Evreinov at 1920 year. The theatrical mystery play with the participation of thousands of extras will remain a model for Bolshevik holidays for a long time to come.

In 1919, Komfut (an association of «communist-futurists») is organized, where the poet Vladimir Mayakovsky, the critic and theorist Osip Brik and the artist Natan Altman, the author of the design of Petrograd streets on the first anniversary of the revolution, cooperate with the new government. In a poem with the militant title «Order for the Army of Art» Mayakovsky declares:

Enough of penny truths.
Wipe the old out of your heart.
The streets are our brushes.
Squares are our palettes.

Demonstrations and rallies require visibility, mass character, energy. Bolshevik agitprop adopts the aggression of the avant-garde, and the new government welcomes its creators. Already in November 1917, Kazimir Malevich was appointed commissioner for the protection of ancient monuments. He did not stay long in this position, but the logic of the decisions is remarkable. Avant-garde artists are involved in the reform of art education: the same Malevich in 19In 1919 he went to Vitebsk, where he became the head of an art school, on the basis of which Unovis would soon appear — the society of «Affirmatives of the New Art». Its activists in 1923 will be among the founders of Ginkhuk, the State Institute of Artistic Culture. While Malevich was popularizing the avant-garde in the provinces, Wassily Kandinsky and Vladimir Tatlin were participating in the organization of the Higher Artistic and Technical Workshops (Vkhutemas), where from 1920 to 1926 the most important school of the European avant-garde, along with the Bauhaus in Germany, would work.

The era of war communism, when the Bolsheviks imposed a new order by force, turned out to be relatively favorable for leftist art. The Bolshevik terror fell upon the intelligentsia, but spared the avant-gardists who were persecuted before the revolution. They sat in the department of fine arts of the then Ministry — more precisely, the People’s Commissariat — of Education and distributed privileges to those they considered necessary. The NEP, which began in 1921, turned out to be a more difficult time for them: the idea of ​​a world revolution began to lose its relevance. Nevertheless, the reaction in the culture did not triumph immediately. The avant-garde maintained a strong position until the very end of 1920s.

First of all, we are talking about the style that took shape after the revolution and gave utopian ideas an applied dimension. This is constructivism, whose ideologist was Alexei Gan, and whose leading representatives were Vladimir Tatlin, El Lissitzky, Alexander Rodchenko, Varvara Stepanova. They were engaged in the propaganda of the communist ideology with the help of texture, construction and tectonics, that is, they answered questions about what an object looks like, how it is arranged and where it is built. The constructivists were not «artists» in the usual sense of the word: they were engaged not so much in easel paintings as in posters, collages and three-dimensional objects. They quickly and technologically mastered architecture and the urban environment, design of clothes and premises, photography and printing. They designed books, packaging, shop windows, clubs. As a result, constructivism took shape as a single semantic and stylistic foundation for all types of artistic practice 1920s. Its principles were most clearly reflected in architecture, and indirectly — in cinema.

The Tatlin Tower project became the main symbol of constructivism. The innovative «corner counter-reliefs» that Tatlin created even before the revolution are much less known. But if it were not for them, it is unlikely that the Suprematist Lazar Lissitzky would have started building at the turn of the 1910s and 1920s «prouns» («projects for the approval of the new») — applications from various materials, which are based on architectural sketches. Unlike Tatlin’s catchy and distinctly mystical projects, Lissitzky’s volumes are devoid of even a hint of art in its traditional sense. «Prouns» set the task of overcoming a perspective that is closed to a single observer; they contain a plurality of points of view. Such art should be perceived by the masses, and not by an individual viewer, and provokes contact with it.

Constructivism is best known as an architectural style. Outwardly, it seems to be one, but in fact, two competing groups were responsible for it. The first is the rationalists, where, along with the ideologist Nikolai Ladovsky, Lissitzky also entered. Contrary to their name, the rationalists were distinguished by their pronounced utopianism. So, Lissitzky believed that Suprematism was able to overcome gravity, and student Georgy Krutikov in 1924 created a project for a “flying city” that could be moored to a tower like an airship. The second group is the constructivists proper: the Vesnin brothers, Moses Ginzburg. They were more productive in real construction because they proceeded from practical considerations. Until the beginning of 19In the 1930s they built workers’ clubs, shops, residential buildings. Finally, Ilya Golosov and Konstantin Melnikov, who worked in a special (experimental) workshop of Vkhutemas, kept aloof. They created fundamentally individual projects — dynamic, built on a contrasting combination of forms.

Constructivism, with its attention to line and plane, a holistic approach to the organization of space and a general focus on manufacturability, was in tune with the youngest art — cinema, which was literally at the forefront of progress already by virtue of its industrial origin. However, for the first two decades of its existence, cinema struggled to prove its worth in front of the «older» arts. As a result, it adopted all the most obvious things that could be borrowed from them. The theater has a deliberate mannerism of acting. Fiction has a division into genres and obligatory narrative, the presence of an entertaining story. The fine arts have the techniques of composition and construction of space, as well as ornamental design, associated with modernity of the early 20th century. Thus, the cinema for a long time remained an avant-garde technology with a backward content.

In 1919, on the initiative of the actor and director Vladimir Gardin, the State School of Cinematography was opened in Moscow. Her first set of «sitters», that is, actors, practiced movements in front of a frame that imitated the frame through which the mentor watched the mise-en-scène. The sitters were coached by Lev Kuleshov, who, back in 1918, filmed the painting «Engineer Prite’s Project» at the Yalta studio. It was mostly remembered by the editors who had never glued such short lengths of film: the action on the screen flickered not only because of poor lighting, but also from the speed of the frame-by-frame change. This is how montage was born, which Kuleshov called «American», and fans of the Soviet avant-garde abroad soon renamed it «Russian». Kuleshov also noticed that on the screen a person walking along a Moscow street can easily greet an acquaintance who is in Petrograd. The space of the film is the result of an arbitrary combination of elements, as a result of which a «created earthly surface» appears. Finally, another property of montage is the ability to control the perception of the things depicted. Thus, the neutral face of the actor, mounted with a plate of food, begins to express a feeling of hunger; glued end-to-end with the image of a children’s coffin, is filled with sorrow and despair. The term «Kuleshov effect», denoting this property, quickly gained a foothold in the profession, and the director himself became the first classic of Soviet cinema.

Following Kuleshov, a brilliant constellation of enthusiasts comes to the film industry. Some of his students, such as Vsevolod Pudovkin, made themselves known in the second half of the 1920s. In 1922 (regardless of Kuleshov’s influence), the FEKS association, the Factory of the Eccentric Actor, was founded in Petrograd under the leadership of Grigory Kozintsev from Kiev and Leonid Trauberg from Odessa. Searches in the field of acting technique, consonant with Kuleshov’s struggle against the excessive drama of the game, led the “faxes” to popular theater, a booth, clownery, and acrobatics. Starting with eccentric performances, Kozintsev and Trauberg quickly switched to cinema. Their first films were a chaotic buffoonery, but already in 19In 26, the milestone painting “The Overcoat” was released based on the script by Yuri Tynyanov, close in style to German expressionism. A dynamic and subjective camera that expresses the various states of the protagonist, as well as a unique work with light, put the cameraman Andrei Moskvin on a par with the masters of German expressionism, which thundered all over Europe at that time.

A similar path, from the theater to the cinema, is being followed by Sergei Eisenstein from Riga, who studied in Petrograd as an engineer, but after the revolution ended up in Moscow, first as an artist of the Proletkult theater, and soon as a student of the outstanding theater reformer Vsevolod Meyerhold. Eisenstein created the concept of the performance as a «montage of attractions», where it was not so much the arbitrary combination of fragments that was important, but the final effect — the audience’s shock. In the film «Battleship Potemkin» 1925, which brought the director great fame, a textbook example of shock editing is the scene of shooting people on the stairs leading to the port of Odessa. Filming the crowd’s panicky throwing with different cameras and speeding up the pace of the violence episodes, Eisenstein culminates in a close-up shot of an eye gouged out by a Cossack whip. After the film «October» in 1927, filmed for the tenth anniversary of the revolution, Eisenstein turns into the main film director of the USSR, whose activities are regulated directly from the Kremlin.

David Kaufman, better known under the pseudonym Dziga Vertov, was almost the first and completely independent to start experimenting with editing. He was a chronicler, an ideologist of non-fiction cinema and a fiery fighter against manifestations of theater and «literaryism» in cinema. His theories and manifestos contained the important idea that technology could overcome human limitations. Vertov’s approach was more radical than Kuleshov’s «American montage», as it signified the triumph of disunity and alienation, the cinematic analogue of the same deconstruction towards which, for example, Suprematism intuitively moved.

In 1922 Vertov publishes the text “Kinoki. Coup, outlining the principles of the group he leads, whose name is derived from the words «cinema» and «eye». The main features of the new film language, according to Vertov, are associated with the alienation of technology from man and the possibility of mechanically obtaining a product that previously required someone’s individual creative efforts. The camera itself will figure out what is important to it and what is not; you should take a closer look at what he fixes. In 1924, Vertov shot the film Kino-Eye to illustrate his theories, and at the end of the decade, his most famous film, Man with a Movie Camera. 29 years old. The movie camera turns here into a subject of observation. The operator is a technical figure that the device literally drags along for the whole day to shoot. Of course, the apparatus could not combine the filmed events on its own, the decision was made by the person at the editing table. But Vertov sincerely believed that cinema was not just a new stage in technological aesthetics, but a tool for a radical restructuring of man.

Although Dziga Vertov wanted to annul the connection of cinema with the theater, including the avant-garde, it was impossible to fully realize this intention. Cinema, as the avant-gardists dreamed, synthesized different languages ​​of art, but due to its technical origin it alienated the viewer from the action, while in the theater the action takes place here and now with the witness of the viewer. That is why the theater remained the most important laboratory of the avant-garde as a practice of constant development and self-overcoming. At the same time, the nature of the theater did not allow to overcome its piece character, which gave it a pronounced elitism even in the Soviet cultural context.

Theatrical avant-garde was formed in close alliance with painting. The Futurists influenced Nikolai Evreinov with his idea of ​​»theatricalization of life», Vsevolod Meyerhold, who was busy searching for a new convention that would abolish «getting used to the role», Alexander Tairov, whose search for emotional impact on the viewer was intended to gather a chamber, that is, a small and faithful audience fans. All of them worked with plastic, and Meyerhold was the most radical: he dressed as a Red Army soldier and commanded the actors like a platoon. At 19In the year 18, Meyerhold staged «Mystery-buff» based on Mayakovsky’s play, fighting off the beginning of the Civil War. This rough, outrageous performance, designed first by Malevich and then by Altman, was a major event for the Soviet theatrical avant-garde.

Experimental directors paid close attention to working with the actor. They actively applied the method of «biomechanics» — a system of bodily exercises, which Meyerhold learned about from the students of the anatomist and physical education theorist Pyotr Lesgaft. At 19In the 1910s, the ideas of expressive acting movement had already penetrated into Russia, but in theaters the actors got used to the roles with might and main, not paying attention to the coordination of movements. Biomechanics put an end to bodily laxity — from now on, the actor had to carefully study and train his body, expand the range of postures, and achieve filigree precision of gesture. The Soviet theater differed from the advanced pre-revolutionary trends in that it turned art into a conveyor from which a new, more and more perfect and scientifically savvy person had to leave. The upbringing of the new man was carried out in 19The 1920s and teachers, and psychologists, and physiologists, but only art, with its unlimited imagination, developed a holistic anthropological utopia. In theater, cinema, architecture and painting, the new man is an abstract bearer of rational properties, an element of a well-oiled machine whose work is necessary for the restoration of the national economy and the future victory of communism.

In the second half of the 1920s, the Stalinist line wins in the internal party struggle, which proclaims a departure from the ideas of world revolution in favor of building socialism in a single country. Avant-garde rationality turns out to be alien to «truly popular» tastes — art should be understandable, resemble life and reflect what must inevitably come. The Soviet government demanded unity of goals and means from art workers. Therefore, the new doctrine of art — socialist realism — abolished the possibility of any stylistic diversity.

However, the avant-garde of the 1920s cannot be called an unrealized project. His desire for total domination was intercepted and implemented by the state. It mobilized all resources to bring the aesthetic utopia to life and demonstrate to everyone, including the inventors of this utopia, its practical dimension. The centralized art of the 1930s did not oppose the search for the avant-garde: the Bolsheviks simply ceased to maintain the appearance of competition in the artistic field, they no longer needed it. Top 19In the 1930s, the role of the avant-garde in the creation of the Soviet version of culture was played. The fire of the world revolution did not happen, the authorities took up building socialism in a single country, and work in art was reduced to observing the rules of the game, which have an administrative origin.

What is the merit of the avant-garde? This art has changed both the idea of ​​the world and the language in which this world is described. Thanks to the avant-garde, talk about form and content, about the authenticity of an artistic statement, about the morality behind it, completely lost its meaning. In art, the idea has triumphed, which should be new, unconventional. The avant-garde has abolished the power of tradition. And although the reaction keeps coming back, these days, fewer people are convinced that «classic» is synonymous with «art.»

History of the Russian Culture to the revolution and war

Ancient Russia

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Types of art and their classification

INTRODUCTION

One of the main tasks of our society,
facing the system of modern
education is the formation of culture
personality. The relevance of this task is related to
revision of the system of vital and artistic and aesthetic
values. Formation of the culture of the younger
generation is impossible without recourse to
artistic values ​​accumulated by society
in the course of its existence. In this way,
there is a clear need to study
foundations of art history.

To fully understand art
a certain era, it is necessary to navigate in
art terminology. Know and
understand the essence of each of the arts. Only in
case of possession of a categorical-conceptual
system, a person will be able to most fully realize
aesthetic value of works of art.

CLASSIFICATION OF ART TYPES

Art (creative reflection,
reproduction of reality
artistic images.) exists and
develops as a system of interconnected
species, the diversity of which is due
the versatility of the (real world,
displayed in the process of artistic
creativity.

Arts are historically established,
forms of creative activity
the ability of artistic realization
life content and differing in
ways of its material embodiment (a word in
literature, sound in music, plastic and
coloristic materials in the visual
art, etc.).

In contemporary art history literature
there is a certain scheme and system
classification of the arts, although unified so far
No, they are all relative. Most
a common scheme is to divide it into
three groups.

The first includes spatial or
plastic arts. For this group
art is essential
spatial construction in disclosure
artistic image — Fine
art, Arts and Crafts,
Architecture, Photography.

The second group includes temporary or
dynamic arts. They are key
importance is acquired by the unfolding
time composition — Music, Literature.
The third group is spatio-temporal
species, which are also called synthetic
or performing arts — Choreography,
Literature, Theater Arts,
Cinematography.

Existence of different kinds of arts
caused by the fact that none of them
cannot give by its own means
artistic comprehensive picture of the world.
Such a picture can only be created by all
artistic culture of humanity as a whole,
consisting of separate types of art.

CHARACTERISTICS OF ART TYPES

ARCHITECTURE

Architecture (Greek «architecton» — «master,
builder») — a monumental art form,
whose purpose is to create structures and
buildings necessary for life and activity
humanity, responding to utilitarian and spiritual
the needs of the people.

The forms of architectural structures depend on
geographic and climatic conditions, from
the nature of the landscape, the intensity of the sun
light, seismic safety, etc.

Architecture is closer than other arts,
associated with the development of productive forces, with
the development of technology. architecture capable
unite with monumental painting,
sculpture, decorative and other types
art. The basis of architectural composition —
volume-spatial structure,
organic interconnection of building elements or
ensemble of buildings. The scale of the building is largely
determines the nature of the artistic image, its
monumentality or intimacy.

Architecture does not reproduce reality
directly, she wears not a pictorial, but
expressive character.

FINE ART

Fine art — species group
artistic creation, reproducing
visually perceived reality.
Works of art have a subject form,
unchanging in time and space. To
fine arts include: painting,
graphics, sculpture.

GRAPHICS

Graphics (translated from Greek — «I write,
I draw») is, first of all, a drawing and
artistic printed works (engraving,
lithography). It is based on the possibilities
creating an expressive art form
by using lines of different colors,
strokes and spots applied to the surface of the sheet.

Graphics preceded painting. at first
man learned to capture the outlines and
plastic forms of objects, then to distinguish and
reproduce their colors and shades. Mastery
color was a historical process: not all colors
were mastered immediately.

The specifics of graphics are linear relationships. She is,
reproducing the forms of objects, conveys them
illumination, the ratio of light and shadow, etc.
Painting captures real relationships
colors of the world, in color and through color it expresses
the essence of objects, their aesthetic value,
verifies their public purpose, their
conformity or contradiction to the environment.

In the process of historical development in drawing and in
printed graphics began to penetrate color, and now
already referred to as graphics and drawing with colored crayons
— pastel, and color engraving, and water painting
paints — watercolor and gouache. In various
literature on art history there are
different points of view about graphics. In some
sources: graphics is a type of painting, and in others
— this is a separate subspecies of the pictorial
art.

PAINTING

Painting — flat fine art
art, the specificity of which is
representation with the help of paints applied on
surface Image Of The Real World,
transformed by creative imagination
artist.

Painting is subdivided into:

— monumental — fresco (from Italian Fresco) —
painting on wet plaster with paints
divorced on the water and mosaic (from the French
mosaiqe) image of colored stones, smalt (Smalt
— colored transparent glass.), ceramic
tiles.

— easel (from the word «machine») — canvas
which is created on an easel.

Painting is represented by various genres (Genre
(French genre, from Latin genus, genitive
generis — genus, species) — artistic, historically
established internal division in all
types of art.):

— Portrait — the main task is to convey
idea of ​​the appearance of a person,
reveal the inner world of a person, emphasize
his personality, psychological and emotional
image.

— Landscape — reproduces the surrounding world in everything
variety of its forms. Marine image
landscape is defined by the term marinism.

— Still life — depiction of household items, tools
labor, flowers, fruits. Helps to understand
worldview and lifestyle of a certain era.

— Historical genre — talks about
historically important moments in the life of society.

— Everyday genre — reflects everyday life
people, temper, customs, traditions of this or that
ethnos.

— Iconography (translated from Greek «prayer
image») — the main goal is to direct a person to
path of transformation.

— Animalism — the image of an animal, like
the protagonist of a work of art.

In the 20th century the nature of painting is changing under the influence
means of technological progress (appearance of photo-
and video equipment), which leads to the appearance
new forms of art — Multimedia art.

SCULPTURE

Sculpture — spatial — pictorial
art that explores the world in plastic
images.

Basic materials used in
sculpture, are stone, bronze, marble,
wood. At the present stage of development of society,
technological progress has expanded the number
materials used to create
sculptures: steel, plastic, concrete and others.

There are two main varieties
sculptures: volumetric three-dimensional (circular) and
relief:

— high relief — high relief,

— bas-relief — low relief,

— counter-relief — incised relief.

By definition, sculpture is
monumental, decorative, easel.

Monumental — used for decoration
streets and squares of the city, designations historically
important places, events, etc. To the monumental
sculpture include:

— monuments,

— monuments,

— memorials.

Easel — designed for close inspection
distance and is intended for decoration
interior spaces.

Decorative — used to decorate everyday life
(small plastic items).

DECORATIVE AND APPLIED ART.

Arts and crafts — view
creative activity to create objects
household designed to satisfy
utilitarian and artistic and aesthetic
the needs of the people.

Arts and crafts include
products made from various
materials and using different technologies.
The material for the subject of DPI can be metal,
wood, clay, stone, bone. Very diverse
technical and artistic techniques
production of products: carving, embroidery, painting,
chasing, etc. The main characteristic feature
subject DPI — decorative, consisting in
imagery and the desire to decorate, make better,
more beautiful.

Arts and crafts has
national character. Since it comes from
customs, habits, beliefs
ethnic group, close to the way of life.

An important component of arts and crafts
arts are folk art
crafts — a form of organization of artistic
work based on collective creativity,
developing local cultural traditions and
focused on the sale of industrial products.

Key creative idea of ​​traditional
crafts — approval of the unity of natural and
the human world.

The main folk crafts of Russia
are:

— Woodcarving — Bogorodskaya, Abramtsevo-Kudrinskaya;

— Painting on wood — Khokhloma, Gorodetskaya,
Polkhov-Maidanskaya, Mezenskaya;

— Decoration of birch bark products — stamping on
birch bark, painting;

— Artistic stone processing — processing
hard and soft rock;

— Bone carving — Kholmogorsk, Tobolsk.
Khotkovskaya

— Miniature painting on papier-mâché —
Fedoskino miniature, Palekh miniature,
Mstera miniature, Kholuy miniature

— Artistic metal processing —
Veliky Ustyug black silver, Rostov
enamel, Zhostovo painting on metal;

— Folk ceramics — Gzhel ceramics,
Skopino ceramics, Dymkovo toy,
Kargopol toy;

— Lace making — Vologda lace,
Mikhailovskoe lace,

— Painting on fabric — Pavlovian shawls and shawls

— Embroidery — Vladimirskaya, Color interlace,
Gold embroidery.

LITERATURE

Literature is an art form in which
the material carrier of imagery is
word.

Literature includes natural and
social phenomena, various social
cataclysms, the spiritual life of the individual, her feelings.
In its various genres, literature embraces this
material or through dramatic
reenactment of an action, or through an epic
narration of events, or through lyrical
self-discovery of the inner world of man.

Literature is divided into:

— Fiction

— Educational

— Historical

— Scientific

— Reference

The main genres of literature are:

— Lyrics
fiction, reflects life through
images of various human
experiences, the peculiarity of the lyrics is poetic
the form.

— Drama — one of the three main genders
fiction, plot
a work written in a colloquial form and
without author’s speech.

— Epic — narrative literature, one
of the three main genres of art
literature, includes:

— Epic — a major work of epic
genre.

— Novella — narrative prose
(much less often — poetic) genre of literature,
representing a small narrative form.

— Tale (story) — literary genre,
which is smaller in size,
fewer figures, vital
content and breadth

— Story — Epic work
small size, which is different from
novellas more widespread and
arbitrariness of the composition.

— Novel — great narrative
a work in prose, sometimes in verse.

— Ballad — lyric-epic poetic
story line written in stanzas.

— Poem — plot literary
lyric-epic work
verses.

The specificity of literature is a phenomenon
historical, all elements and components
literary work and literary
process, all features of the literature are in
constant change. Literature is alive
mobile ideological and artistic system, sensitively
responsive to life changes.
The forerunner of literature is oral
folk art.

MUSICAL ART

Music — (from the Greek musike — lit. — art of muses), view
art, in which the means of embodiment
artistic images serve a certain
organized musical sounds.
Basic elements and expressive means
music — mode, rhythm, meter, tempo, loudness
dynamics, timbre, melody, harmony, polyphony,
instrumentation. Music is fixed in the sheet music
records and is implemented in the execution process.

The division of music into secular and
spiritual. The main area of ​​sacred music is
cult. With European cult music (usually
called church) is associated with the development
European musical theory of musical notation,
music pedagogy. By performing
music is divided into vocal (singing),
instrumental and vocal-instrumental.
Music is often combined with choreography,
theatrical art, cinema. Distinguish music
monophonic (monody) and polyphonic (homophony,
polyphony). Music subdivided:

— by birth and species — theatrical (opera, etc.),
symphonic, chamber, etc.;

— for genres — song, chorale, dance, march, symphony,
suite, sonata, etc.

certain, relatively stable typical
structures. Music uses, as
means of realizing and
human feelings, sound images.

Music in sound images generally expresses
essential life processes. emotional
experience and idea colored by feeling,
expressed through sounds of a special kind, based on
which lie the intonations of human speech, —
such is the nature of the musical image.

CHOREOGRAPHY

Choreography (gr. Choreia — dance + grapho — writing) — view
art, the material of which are
movements and postures of the human body, poetically
meaningful, organized in time and
space that make up the artistic
system.

Dance interacts with music, along with it
forming a musical and choreographic image. AT
In this union, each component depends on the other:
music dictates dance its own laws
and at the same time affected by
sides of the dance. In some cases, the dance
performed without music — accompanied by clapping,
heel tapping, etc.

The origins of the dance were: imitation of labor
processes; ritual celebrations and ceremonies,
the plastic side of which had a certain
regulation and semantics; dance spontaneously
expressing in movements in movements the climax
emotional state of a person.

Dance has always, at all times, been associated with
life and life of people. Every dance is a poet
corresponds to the character, the spirit of the people whose
he was born.

THEATER

Theater is an art form, artistic
mastering the world through dramatic action,
carried out by the creative team.

The basis of the theater is dramaturgy. Synthetic
theater arts defines it
collective character: in the performance they unite
creative efforts of the playwright, director,
artist, composer, choreographer, actor.

Theatrical productions are classified according to
genres:

— Drama;

— Tragedy;

— Comedy;

— Musical, etc.

The art of theater is rooted in
deep antiquity. Its essential elements
already existed in primitive rites, in
totemic dances, in copying habits
animals, etc.

PHOTO ART.

Photography (gr. Phos (photos) light + grafo writing) —
art that reproduces on a plane,
through lines and shadows, the most perfect
manner and without the possibility of error, contour and shape
the object she conveys.

A specific feature of photographic art
organic interaction in it of creative and
technological processes. Photo art
formed at the turn of the nineteenth and twentieth centuries as a result of
interaction of artistic thought and progress
photographic science and technology. His
the emergence was historically prepared
the development of painting, oriented towards
mirror accurate image of the visible world and
used to achieve this goal
discoveries of geometric optics (perspective) and
optical instruments (camera obscura).

Photographic art is specific in that it
gives a pictorial image of a documentary
values.

Photography gives an artistic image
expressive and authentic
in a frozen image, an essential moment
reality.

Life facts in photography almost without
additional processing are transferred from the sphere
reality in the realm of art.

CINEMA

Cinema — the art of screen reproduction
motion pictures captured on film,
giving the impression of living reality.
Cinema is an invention of the 20th century. His appearance is determined
advances in science and technology in the field of optics,
electrical and photographic engineering, chemistry, etc.

Cinema conveys the dynamics of the era; working time
as a means of expression, cinema is capable of
convey the change of various events in their internal
logic.

Cinema is a synthetic art in it
included organic elements such as,
literature (script, songs), painting (cartoon,
scenery in a feature film), theatrical
art (acting), music that serves
means of supplementing the visual image.

Cinema can be conditionally divided into scientific and documentary
and artistic.

Movie genres are also defined:

— drama,

— tragedy,

— fantasy,

— comedy,

— historical, etc.

CONCLUSION

Culture plays a special role in
improvement of personality, in the formation of its
individual picture of the world, because in it
accumulated the entire emotional, moral and
appraisal experience of Mankind.

The problem of artistic and aesthetic
education in the formation of value orientations
the younger generation has become an object of attention
sociologists, philosophers, cultural theorists,
art critics. This educational and reference
The allowance is a small addition to
a huge layer of educational material related to
spheres of art. The author expresses the hope that he
will serve as a good help for students,
students and anyone who cares about art.

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