Home – Home – Jornals – "Philosophy of Education" 2015 number 2

The author analyzes the process of students’ mastering the knowledge of painting. It is noted that only the practical side in the painting training cannot satisfy the requirements of modern school. Besides possession of practical skills, the teacher must build the educational process to achieve maximum efficiency of training on the basis of understanding of psycho-physiological structure of cognitive activity of students. The understanding of training material in such discipline as painting has to appear in the expediency of performance of these or those actions which are applied by the student in the course of depicting the nature. The author focuses attention on that only in the course of thinking the student can comprehend more and more deep structures of the form and color of the represented object, and all this is achieved through the abstraction from the less important, non-essential elements. Therefore, the ability to think abstractly is necessary for the artist. It is necessary to teach this to the students, because without this many moments in the fine arts will be simply unthinkable and the graduate, incompetent. A starting point of initiation of cogitative activity of the student in the course of depicting the nature is the creation of a problem situation. It can be expressed through some difficulty which has appeared, for example, in connection with new picturesque tasks. The problem situation is present in each new educational task and aims at awakenings of the need of the students to put into practice the earlier acquired knowledge and skills. Not less important quality in the course of painting activity is the integrity of visual perception. It is exactly taking into account this condition that the entire system of the artistic depicting of nature is built. It is known that process of artistic depiction cannot be considered as a process of mechanical putting of some color spots on a sheet of paper. The artist is faced with more complex tasks of finding and transferring the real tone and color relations which are connected in the nature with the artist's reasoning in the course of comparison of one subject with another. For the full cognition of an object, the artist needs to reveal and understand its connections with other neighboring objects both with respect to tone and color. Thus, in the course of teaching painting, which in comparison with other fine arts possesses a possibility of the fullest reproduction of the appearance and properties of objects and phenomena, the question consists in how to direct the student towards a correct visual perception of the nature, which is the main component of pedagogical skills.