The issue of designs.
From the very beginning of our considerations, we emphasized, that the child should work as well as possible. The less foreign influences reach his consciousness, The more authentic will be his statement. This applies to influences of bad and not adapted to the child's psyche. But the question arises, are there any revenues such, which can have a positive effect on the development of the child's work.
Well, the factor, which cannot be eliminated, and which will affect the course of the child's work, There is primarily the teacher himself. After all, he conducts exercises. His artistic beliefs and preferences will always squeeze a mark on the work of children and this is inevitable. But a good teacher will try to do so, so as not to impose ready forms on children, but develop the maximum independence of creation in them. A good educator is aware of, that there are differences between his work and his way of feeling the world and art and the work of children, that they belong to two different worlds, which at many moments are fundamentally different. However, a bad teacher will be such, who imposes on children his preferences and work style without the child's authentic capabilities.
Second factor, which cannot be eliminated, These are various images viewed in the books, on the walls of apartments, etc.. They also exert an influence on the forming child's psyche and give him form, which will be, maybe, imitate. Well, there is no doubt, that among these images viewed, a significant part is artistically worthless and therefore fundamentally harmful to the child's development. If we can explain to children when discussing this issue, that they should never succumb to someone else's influence, Maybe we will make a resistant to the harmful effects of such images to some extent.
But the question is also arisen, or showing children paintings and sculptures of great artists, So artistically wholesome examples, can be useful. The work of great artists differs fundamentally from the naive work of a child, and therefore their works will not help him at work. Pictures of great masters are difficult and inaccessible to the child. For example, in the paintings of Titian or Rembrandt and other such great virtuosos of painting technology, he will see a child above all the illusion of reality, which is not an important issue of these works of art in this case. The child may even be intimidated under the influence of these works. Showing such works in the form of examples is therefore absolutely inadvisable, and it can even be harmful.
Despite this, visiting museums should not be denied the child. It can learn about the works of the art of great masters without binding it with the course of her own work. In museums, it does not see selected exhibits as patterns for his work, but he is familiar with a diverse whole, which exerts a general impact on the child's attitude towards art. And this is useful.
Any museum departments can be viewed by children and can be familiar with them. However, if the exhibits are to be discussed in connection with the child's work, You have to choose such departments, which are affordable for the child and in which it will find some contact points with her own naive work.
Such works are all types of primitive art. There are many works of primitives, which can be very helpful in working with children. Even in provincial museum collections we will find exhibits in the field of folk art, prehistoric etc.. The character of this art, her simple, Uncomplicated forms and similarity to the child's art will ensure children about the importance of their own work and maintains the best interest in the subject.
Therefore, you should always skillfully prevent any attempts to modeled on the exhibits, And the museum variety of exhibits should convince children of the existence of an infinite number of solutions in every field of creativity and the need to find their own path. You can easily demonstrate, that each of the exhibits viewed has its own separate face and that is why it is valuable, that he is authentic, However, all imitation and imitation become idle and free of force of artistic expression.
Visiting museums will make respect for children in children and will sow faith in their minds in the size of cultural matters, this highest human value. But there is no doubt, that the choice of viewed and discussed works should always be adapted to the child's age and his reception possibilities.
To develop a child in the field of drawing and painting, We should surround them with the right atmosphere. In good conditions, the child's congenital talents will mature and develop, The forms of his painting pronunciation will grow in systematic work, The development will be carried out slowly, from more primitive and fantastic forms to more and more specific. One of the most important tasks of the teacher here will be to protect the child against loss of sensitivity to form and color, from which an individual painting statement arises, and in this case charming, naive children's picture.
A great and main disadvantage would be to lose these values in favor of superficial and meticulous reproduction of objects and phenomena, So for the so -called. photographic vision of reality. And such danger exists undoubtedly and increases in the elderly, when the child is more and more influenced by naturalistic imaging. The teacher will encounter a lot of difficulties at this time, However, if he distinguishes these two worlds well, what they are, on the one hand, Individual painting statement, and on the other, impersonal, template and naturalistic, will find a way to demonstrate differences and manage the student's work properly.
The child needs to be immunized against all these dangers, including the crisis 14 year of age and must be prepared for taking the correct academic study in the following years, not deprived of artistic values. It will then be possible to start these new academic exercises with full sensitivity to form and color within the individual academic concept and painting composition.