Abstract
In the article, we consider the problems of teaching painting to students of art specialties in plein air practice. Based on a historical study of the stages of development and formation of landscape as an independent genre in the fine arts, the specifics, and features of teaching the art of painting in the open air are determined. The definition of the concept “Motif in the fine arts” is being clarified. The dependence of the format of practical tasks and stages of work on a pictorial etude on the goals and objectives of teaching painting in the plein air is established. Research methods: analysis of literature on the research problem (art history, theory, and methods of teaching fine arts, etc.); student work performed in plein air practice; works of famous artists; survey of students and teachers. The results of the research can be used in the process of teaching painting to bachelors, masters, and specialists in the field of painting, graphics, design, architecture.
Highlights
Educational programs for artists, graphic artists, designers, future teachers of fine arts and other art specialties include educational plein air practice
The following research methods were used: analysis of the literature on the research problem; student works performed in plein air practice; works by famous artists; a survey of students and teachers
Summing up the results of the experiment conducted with students in the process of teaching plein air painting to bachelors, masters, and specialists in the field of painting, graphics, design, architecture, and having studied the materials of modern Russian and foreign scientists, we wanted to focus on some important issues, comments, arguments, and conclusions
Summary
Educational programs for artists, graphic artists, designers, future teachers of fine arts and other art specialties include educational plein air practice. Its purpose is to master the laws of painting in the open air. Learning the art of painting requires a careful study of nature. The growth of professional skill and the study of nature are separate interconnected processes that shape the artist. A creative approach to drawing nature is based on the visual images and impressions that the artist receives when working with it. As a result of direct communication with nature, inspiration, and desire to create a landscape composition comes
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