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Tleuzhanov A.K. ©
Associated professor, Kazakh National University named after Abai
PERFECTING THE PROCESS OF TEACHING THE FUTURE ARTISTS-TEACHERS THE TECHNIQUE OF OIL PAINTING AT PEDAGOGICAL EDUCATIONAL
INSTITUTIONS
Summary
In this article, the author reveals criteria for assessing the level of compositional reasoning about composite-picturesque work of students at the start of the art training course.
Keywords: methods of teaching, technique of oil painting, artists-teachers
Nowadays, in the conditions of reforming of the entire education system of Kazakhstan, there is a particularly acute problem of improving the quality of training of experts of any profile. This was also designated in the 2007 «New Kazakhstan in the new world» message of the President of the Republic of Kazakhstan of N.A.Nazarbayev to the people of Kazakhstan [1, 3]. For the art-pedagogical system of education, the solution of this problem is in many respects defined by perfection of a technique of conducting classes on special disciplines. Existing methods of teaching art pay very little attention to the use of considerable experiences learned throughout the history of painting. The urgency of the research is due to the fact that without solving the problem of perfecting the process of teaching the technique of oil painting, training of artists-teachers is not fully effective. Possession of the practical skills of technological and technical implementation of tasks put before the image, the possession of knowledge about the conditions of formation of the specific painting
techniques, understanding of the basic principles of its organization are the necessary foundations for successful creative and educational activities for future artists-teachers at the pedagogical institutes. The development of methodological systems to improve the teaching process oil painting to the future artist-teachers at the pedagogical institute assumes the study and analysis of a large number of theoretical studies in the field of technology and technique of oil painting studied in the works of A.A. Wiener, J. Viber, Y.I. Gronberg, D.I. Kiplik, F.F. Petrushevsky, N.I. Prokofiev, F.Rerberg,
B. Slansky, N.V. Odnoralov and many others.
Thus, the purpose of our study is a theoretical justification, development and experimental verification of the content and methods of improving the learning process of future oil painting artist-teachers at the pedagogical educational institutions.
All normal methods of oil painting are reduced to two characteristic receptions.
1) Painting in one step (alla prima) — a method at which painting is conducted in a way that with artistic expertise under favorable conditions the work can be finished in one or several sessions but before paints have time to dry up. In this case, the resources of the color painting are
© Tleuzhanov A.K., 2012 r.
reduced to only those tones which can be obtained from the direct mixing of paints on the palette and radio graphing them on the used soil.
2) Painting in stages - a method in which the artist divides his task into several artistic techniques, each of which is intentionally assigned a special meaning with an intentional calculation or because of the large sizes of the work and so forth. In this case, the work is divided into the first drawing - under painting, in which the task of the artist is reduced to the well-established pattern, common forms and checkered light and shading, to the color, in turn, is given to secondary, or whether it in those colors, which give required tone or effect later only in the future prescriptions with overlaid paints, — in the second, third, etc. drawings, in which the problem is reduced to only the forms of the subtleties of form and color. This second method allows to use all the resources of the oil painting /2, 4 pgs./
It must be emphasized that one of the effective ways of learning the skills and possibilities of the oil painting which will be helpful for students is exercising in the open air where the alla prima is a peculiar technique. To write any landscape sketch, even a brief one, it is necessary to determine objects in the image interesting to the author and think up a composition. It is highly important to think over the distribution of dark and light masses on the sketch and think of the basic color relations. The landscape etude should be not only true to the nature on a color spectrum, but also well drawn. This doesn’t imply the transfer of all petty details, it is simply enough prospectively place and build big objects in a correct way. Excessive meticulousness of the picture will disturb the body drawing of the etude. It is essential to choose an open landscape with few trees or other simple objects. It is advisable to compare distance and the first plan. It is important to focus on the tonal construction of spatial depth. It is very useful for students not only to draw landscapes but also to purposefully observe the nature. In small etudes, the prime appreciation is given to how delicately the color relationships are emphasized in nature and how truthfully it was conveyed. In the oil sketches as well as in water-color, wide linings are done at the start, thus saturated colors are exploited in full force right away. In the process, the artist holds a few brushes of different sizes and constantly changes them depending on how wide or small oiling he needs to put. In addition to the brushes, in some cases, a palette knife may be needed while drawing an etude. Paints should be always squeezed out to the palette in the same order of their arrangement; it saves time while searching for the necessary color. While working on an etude on a clear day, it is mandatory to determine the position of the sun, which can be found from falling shades. Before the end of the session, it is advisable to adhere to the chosen position, although the direction of the shades will change all the time. It is not advisable to continue the landscape etude for longer than one and a half - two hours, as the transfer of the air environment and light and shade are of crucial value.
Practical training accompanied with theoretical knowledge helps students not only understand the technique of oil paintings, but also to solve a number of creative tasks:
• The composite decision of a landscape;
• The ability to seize a plot of a definite landscape;
• To technically cope with the canvas plane in a quick way;
• To realize your creative potentials;
• To develop artistic and creative abilities;
• To achieve a certain level of art boldness.
For effective organization of the education, it is necessary to interest, inspire, and instill a love for the art of oil painting. For this purpose, it is expedient to use a variety of topics, tasks, and work from life, memory, imagination and representation:
• Exercises to develop the techniques of oil painting
• Educational natural still-life settings in open air;
• The creative tasks directed on independent search of the figurative decision of a
composition;
• Short-term etudes of a landscape from nature;
• The creation of training manuals on a CD-ROM;
• The «master-classes».
• Individual approach in training;
• Views and analysis assignments;
• Visits to museums and exhibitions;
• Acquaintance with traditions of art of Kazakh, Russian and foreign art masters;
• Conducting student exhibitions of educational creative works. /3, 5pgs./
Application of these factors broadens the mind, promotes and helps to understand the quality
of oil painting, instills a love of art, which ultimately activates creative activities of the students. It is very useful for an artist to get acquainted with a chemical compound and properties of paints in details. Most of all spent in the process of work is a whitewash component. Old masters used lead paint, which has many advantages, but this paint darkens when mixed with cadmium. Therefore, artists draw with zinc oxide. There must be a cobalt blue and ultramarine on the palette. Some artists prefer to use purple cobalt and lakes (light and dark) in painting.
Brown paints are often named after the places where they were extracted. These are natural and burnt sienna and natural and burnt umbra. Of the green, widely spread is cobalt, an emerald green and a perm. Of the red paint, excluding cadmium, english and lake are necessary. Of the yellow, in oil painting are used strontium, an ochre light and dark, as well as cadmiums of different shades (cadmiums from lemon to purple are available on sale). Some artists do without the black paint in order to avoid turbidity and mud mixtures. While drawing sketches, it is advisable to avoid mixtures of cobalt and ochre, emerald green and bright red cinnabar, as it will eventually cause darkening of paintings. When it is necessary to get a matte painting, refined oil (pinene) and purified turpentine are used, but the latter must be treated with great caution, because if it has impurities, the painting may be heavily darkened. Sometimes, a tripharmacon is used as a diluent of paints; it is a mixture of oil, varnish, refined oil or purified turpentine. If there is a necessity to continue drawing a sketch after a long break, then its surface can be wiped with garlic which provides a connection between upper and lower layers of a painting and protects against shedding after paints fully dry up. Only after the paints fully dry up (about a year), the surface can be wiped with a special varnish, which is not practiced by students of educational etudes. While sculpturing volume forms in painting, it is recommended to put strokes in directions of represented surfaces. The texture of brush strokes can be different, depending on whether surface is a glossy or fuzzy, which is to be drawn on. It will be useful to be acquainted with how masters of oil painting transferred various landscape motives, different weather conditions and lightning in their etudes. To study how each of methods of oil techniques was dictated by those tasks, which authors set for themselves.
References:
1. Address of the president Nursultan Nazarbayev to the people of Kazakhstan. - 28 February 2007
2. Smirnov, B. - Painting. - 1975. - 136
3. Semenova M.A. - Development of artistic and creative abilities of students of Art departments at pedagogical educational universities during the process of watercolor painting in the open air // The author’s abstract. - Omsk. - 2006.
