Home – Home – Jornals – "Philosophy of Education" 2016 number 5

In the article, the author notes that training in the academic drawing in pedagogical higher education institution represents process of consecutive formation and development in students of certain professional qualities (art perception, graphic representations). The image of a still life in this context creates conditions not only for training of students in certain practical skills, but also for formation of complete system of vision, perception and reproduction of nature. According to the author, competently created educational arrangement is a major condition for the organization of process of visual perception for the image which is used for the purpose of its professional development. Each educational still life has to be the carrier of certain spatial and rhythmic regularities, then such work will not be a simple «study» of the nature, but will gain an art and figurative value, thanks to spatial and rhythmic idea which is born in itself by the arrangement of the nature and need from the student to see it, and during judgment to create the initial plan which is realized in the subsequent graphic actions. The subjects making a still life have to be various by the sizes and in a form that gives the chance to students in the course of drawing to compare them according to various characteristics, to reveal individual traits of each of them, coordinating them thus in the uniform composite structure subordinated to certain spatial and rhythmic communications. In the arrangement of an educational still life from household items, it is necessary to accent the main task which promotes formation of a plan. Therefore, the arrangement of a still life usually begins with the main thing, the center of composition. For this purpose, the items are used bearing in itself certain rhythmic regularities on the basis of which the main spatial and rhythmic idea of all statement is formed. In addition to the main items, one selects others coordinated with the composite center. The size and arrangement of all other parts and elements of the image depend on size and an arrangement of the subject chosen as the composite center. This dependence in creation of the image is defined by spatial and rhythmic construction. In turn, the rhythm in creation of harmony of a visual row in drawing of a still life depends not only on communication of the composite center with all other parts of the image, but also on mutual rhythmic and plastic communication of these parts with each other. In order that the student could see visually all these characteristics, it is necessary for the teacher not only to make the arrangement competently, but also to correctly define its position in relation to the students so that, while perceiving the model, they could see the entire course and logic of perception of the form and space.