A modern teacher is, first of all, a humanist, with positive and flexible thinking. He is called upon to “sow the reasonable, the good, the eternal,” as hundreds of years ago, since “the well-being of the entire people depends on proper education” (D. Locke).
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GBOU average comprehensive school №511
Pushkinsky district of St. Petersburg
Essay
« Portrait of a modern teacher»
teacher primary classes
Litovchenko Marina Vladimirovna
At any stage of education, children need a mentor, who is given by God to predict how his word will respond in the trembling heart of the child, who expects understanding, care, and support from him.
Modern life makes new demands on people. Society needs people who are inquisitive, active, creative, able to make non-standard decisions and take responsibility for their adoption, and able to make life choices.
Teacher. What is the basis of his profession? Subject knowledge? Undoubtedly. Oratory? Certainly. Love for children, the ability to understand and feel how a student learns and what he experiences? Well, who will argue. And he must always remain young in his work - keep up with the times, not stop there, always be in search. A modern teacher must be a professional in everything.
The main goal of the work of a modern teacher is to educate a real person: competent, creative, diligent and responsive.
I am a teacher in primary school. The first teacher... Or, as they also say, the second mother. How proud and affectionate it sounds! But, at the same time, how responsible it is to be the first teacher. After all, it is me, the first teacher, that parents trust with the most precious thing they have - their children. And it depends on me, the first teacher, how not only the child’s school life will turn out, but also his future. The teacher can create a comfortable atmosphere for the children's team. After all, only respect and trust, sincere love for children can create an atmosphere of mutual understanding and see a personality in each child. More than two thousand years ago, Socrates wrote: “There is a sun in every person, just let it shine.”
Every day I open the classroom door, and the gaze of my students turns to me, their bright, clear eyes - curious, kind, appreciating my every step. They expect a lot from me. And I give them the happiness of discovery and communication, because I am a teacher who helps children in everything. Together with them, I make discoveries, the first steps not only into the world of knowledge, but also into the real world, into my world, into my life.
The teacher must help the children unite, create a friendly atmosphere and a united team in the class. To teach how to act correctly in various situations, not to be afraid of difficulties, and to be able to overcome them. The teacher must become a friend, comrade, and assistant for the student.
I love my profession very much and I am glad that fate gave me the opportunity to be called this not simple, but wonderful word “Teacher”.
I believe that a modern teacher should have such personal qualities as: responsibility, nobility, kindness, truthfulness, conscientiousness, hard work, accuracy, curiosity, resourcefulness, intelligence, restraint, organization, determination, self-demandingness, politeness, tact, imagination and invention , sensitivity, self-criticism, tolerance.
A modern teacher is a person who is trusted, from whom they expect, albeit small, a miracle in every lesson, and when leaving the class, the children say: “We were very interested and comfortable with you. Thank you for the lesson!"
A modern teacher is, first of all, a humanist, with positive and flexible thinking. He is called upon to “sow what is reasonable, good, and eternal,” as hundreds of years ago, since “the well-being of the entire people depends on proper education” (D. Locke).
I believe that a modern teacher is a person with a strong life position, socially active himself, respecting order, able to conduct a constructive dialogue, constantly working to improve his horizons, forming a scientific type of thinking in his students, developing the creative personal qualities of children, attaching special importance to formation of basic skills, UUD, providing the ability to plan one’s actions aimed at achieving a certainresults, skills formation healthy image life and social health. This is a teacher who focuses on the adoption of social values “I can, I want, I must”, nurturing the leadership qualities of a person-creator, a person-researcher, a person-citizen.
A modern teacher must have pleasant demeanor, and this includes facial expressions, gestures, posture, and communication skills, which wins people over. All manners of a teacher should have one common feature - adherence to pedagogical tact, which includes increased sensitivity to others and the ability to find a form of communication with another person that would allow him to maintain personal dignity. The teacher must be able to listen, understand, sympathize, encourage, and forgive the student.
Personal qualities in the teaching profession are inseparable from professional ones.
In conclusion, I would like to note that a modern, qualified, competent teacher is a central figure in the development of the country.
I did not choose this epigraph by chance. The teacher is, first of all, the one great person, who is entrusted with the most important thing - the successful life of the future generation. For me personally, an ideal teacher should have the following qualities: respect the child’s personality, sacredly believe in his capabilities, in addition, have intelligence, limitless patience, tact and be responsible for his work 24 hours a day.
Agree that in our time there are only a few teachers who go to work as if it were a holiday. Do you know why? Not because the teacher is lazy and is simply sitting out time. This is because the main function of a modern teacher of the 21st century is not to give knowledge to children, but to perform bureaucratic and sometimes humiliating work of collecting certificates, maintaining personal files, redoing work programs, filling out paper and electronic journals. Modern society is built on consumption. Therefore, the teacher changes from being a strict but fair mentor to the child (as was the case in Soviet time), turned into service personnel, that is, an employee providing educational services for teaching, raising and caring for children.
Facilities mass media firmly formed a negative image of the teacher and reduced his status. Every year our country produces a large number of teachers, but to work in educational institutions only a few come. Why did it happen that the word teacher used to sound proud, but now it has become a humiliating word?
With the advent of the age of digital technology - the use of modern computers and multimedia projectors, multifunctional devices, the life of a teacher would seem to have become easier. It is possible to present the material to students in an accessible and interesting form, as well as motivate them to independently study the material in depth. But children are not interested in this either; they do not want to learn to think, to look for material not only in books, but also on the Internet. Where better to mindlessly sit down and play computer games... Is it only the teacher's fault? Society itself is to blame, with its “clip thinking” and incorrect installations of the latest state standards.
One government leader said that “teaching is a calling.” Yes, I agree with this, but you won’t be satisfied with one calling. A modern teacher must be financially secure, otherwise, what quality of knowledge can we talk about? Of course, the modern teacher keeps up with the times, but he walks with his head bowed low. This should be taken for granted, but you can fight it – not alone, but all together!
I am a young teacher-specialist in a very ordinary public school. Therefore, it pains me more than ever to know what is happening now with our education...
Knowing this problem “from the inside,” I did not set a goal to write sublime words about the portrait of a modern teacher. He is subject to many requirements and competencies reflected in the Federal State Educational Standard. But many have forgotten only one thing: a teacher is also a living person, with his own desires and needs. The teacher has a family to devote time to. A teacher is not a robot who works 10-12 hours a day for two jobs in order to feed only himself. But what about spiritual development– traveling, going to theaters or concerts? A teacher must have self-esteem, which modern society belittled. The concept is “if you are so smart, then why are you so poor?”
I would like to write a little about the positive, namely about my professional activity. My students are special children. Therefore, my work is very interesting, it goes beyond the “framework” of teaching. After all, I not only conduct classes with children, but also do diagnostics, develop individual correctional routes, and advise teachers and parents. My working day is planned down to the smallest detail, because little students are waiting for me, each of whom is unique, each of whom needs a special approach. Some of my students need to be reprimanded, others need to be praised. But it is always important to give a smile and a bit of warmth. After all, children sense our mood so subtly, which affects the success of their education. Therefore, I try to be real, honest, sincere with my students and I hope that the guys answer me the same. Every lesson I conduct is a piece of a child’s life. The success of the child in the future depends on how accessible and interesting the material is presented. I strive to use computer and gaming technology, a variety of didactic and handout materials. Getting interested means moving in the right direction and getting one step closer in forming a child’s persistent motivation for development.
To sum up my own thoughts, I will write that a modern teacher is a mobile person who is in constant development. After all, development is not only thoughts, disappointments, hesitations, but also the joy of professional discoveries, faith in the success of one’s students, energy, kindness and constant work on oneself.
Say “thank you” to your teachers! They deserve it!
Essay on the topic “Portrait of a modern teacher “Teacher – does this sound proud?...”” updated: July 31, 2017 by: Scientific Articles.Ru
PORTRAIT
This genre includes works of fine art that capture the appearance of a particular person (or group of people). Each portrait conveys individual, unique features of the person being portrayed (or, as artists say, the model).
The very name of this genre comes from an old French expression meaning “to reproduce something point by point.” However, external resemblance is not the only, and perhaps not the main criterion for the artistic merit of a portrait. In one of the halls of the Tretyakov Gallery, a portrait of A. I. Herzen, painted in 1867 by the Russian artist N. N. Ge, is exhibited. The appearance of the Russian revolutionary, a fiery fighter against autocracy and serfdom, is well known to us from many photographs. The artist faithfully reproduced the characteristic external features of Herzen.
But the painter’s intention is not limited to conveying external resemblance. Herzen’s face, as if snatched from the twilight by a directed sheaf of light, reflected his thoughts and the unshakable determination of a fighter for social justice. Ge captured in this portrait not the momentary state of the model, but the spiritual history of the individual, embodied the experience of her entire life, full of struggle and anxiety. Moreover, in the guise of a person spiritually close to him, Ge recreated, as it were, a collective type of the best Russian people of his time. The art of portraiture requires that, along with external resemblance, a person’s appearance reflects his spiritual interests, social status, and typical features of the era in which he lived.
In addition, the author of a portrait, as a rule, is not a dispassionate recorder of the external and internal characteristics of the person being portrayed: the artist’s personal attitude towards the model, his own worldview, his creative style leave a visible imprint on the work. The art of portraiture dates back several thousand years.
Already in Ancient Egypt sculptors, without delving into the inner world of a person, created a fairly accurate likeness of his external appearance. Idealized, as if attached to the wonderful world of gods and mythical heroes, images of poets, philosophers, public figures were common in the plastic arts of Ancient Greece.
Ancient Roman sculptural portraits were distinguished by their striking truthfulness and at the same time rigid definiteness of psychological characteristics. An outstanding phenomenon of its kind were pictorial portraits for ritual and magical purposes, which were created in Egypt in the 1st century. BC e. - IV century n. e. (after the place of discovery they later became known as Fayum). In the Middle Ages, when abstract religious and mythological images reigned in European art, some masters created psychologically accurate portrait works. (Such, for example, is the statue of Countess Uta in the city cathedral of Naumburg; sculptural portraits of St. Vitus Cathedral in Prague, etc.) Portrait art experienced its real flourishing during the Renaissance, when the heroic, effective human personality was recognized as the highest principle, the main value of the universe.
The great Italian artist captured many of his contemporaries - poets, scientists, rulers Titian. His self-portrait (1560s, Prado, Madrid) is endowed with intellectual power, a proud consciousness of inner independence, and spiritual harmony. Strength and hidden energy, seriousness and masculinity are emphasized in the portrait of Charles de Morette (c. 1536, Picture Gallery, Dresden), painted by the painter X. Holbein To the younger ones. In the 17th century In European painting, a chamber, intimate portrait comes to the fore, as opposed to a ceremonial, official portrait, aimed at exalting and glorifying those depicted.
With his “Portrait of an Old Lady” (1654, Pushkin Museum), the brilliant Dutch portrait painter Rembrandt introduces us to the inner world of the simple, without anything famous person and reveals in him the greatest riches of kindness and humanity. Rembrandt was able to convey a wide range of different feelings, temperaments, and human personalities in large group portraits, such as “The Elders of the Cloth Shop” (or “The Syndics”, 1662, Rijksmuseum, Amsterdam).
The best features of the Spanish national character - modest restraint, self-esteem - are revealed in portraits of dwarf jesters (1640s, Prado, Madrid) by another great portrait painter of the 17th century. - D. Velazquez.
From the beginning of the 18th century. The portrait genre is actively developing in Russian art. The complex, ambiguous image of a service man of the Petrine era is outlined in “Portrait of a Floor Hetman” (1720s, Russian Museum), written by I. N. Nikitin.
In Russian art at the turn of the two centuries, as in an earlier period, the portrait occupies an important place. The significance and diversity of works created in this genre was demonstrated firsthand by the exhibition “Portrait in Russian Painting late XIX- the beginning of the 20th century,” organized in 1975 in the halls of the State Russian Museum. It exhibited works by more than fifty artists, a good half of whom systematically worked on portraits. It is enough to name such names as I.E. Repin, V.I. Surikov, V.A. Serov, M.A. Vrubel, K.A. Korovin, F.A. Malyavin, K.A. Somov, M.V. Nesterov, S.V. Malyutin, A.Ya. Golovin, L.S. Bakst, B.D. Grigoriev, A.E. Yakovlev, K.S. Petrov-Vodkin.
Russian art of the pre-revolutionary decades, developing in difficult historical conditions, is an ambiguous and multifaceted phenomenon. Reflecting fundamental changes in public relations and the mood of revolutionary upsurge in the country, it was distinguished by its inconsistency and acute artistic quest.
All this was bound to inevitably affect the portrait, which had passed through thirty years, like painting in general, an eventful path. Although among the portraits of the 1910s there are abstract works, the portrait still did not offer such wide opportunities for purely formal experiments as, for example, landscape or still life. This was partly explained by the uniqueness of the genre, which consisted in the artist’s particularly close dependence on nature and greater responsibility towards it.
It is in the portrait that the persistence of realistic traditions can be traced more clearly than anywhere else, and the connection with previous achievements emerges more clearly. Works by V.G. Perova, I.N. Kramskoy, N.N. Ge and especially I.E. Repin, who captivated with his high humanism and close attention to man, became the starting point for the work of a number of artists of the next generation.
Many of them could not ignore the art of the remarkable masters of the 18th - first half of the 19th centuries D.G. Levitsky, K.P. Bryullova, O.A. Kiprensky. An irresistible desire to find means to enhance the figurative impact, sharpness and expressiveness of the pictorial and plastic language led to an appeal to the visual experience of classical art of the West and East, Russian icon painting, folk art, and sometimes to new and contemporary European painting.
In the creative practice of some highly gifted masters who were able to penetrate into the essence of certain phenomena of art of the past and artistically refract them in accordance with their own searches, without losing their individuality, such searches sometimes turned out to be extremely effective. For those who were incapable of independent creative comprehension of the material, they turned into direct borrowing and eclecticism.
The movement of portrait art of the period under review did not proceed in a single stream, but rushed along several channels, nevertheless, it quite clearly reveals both the general direction and the change in forms of expression, each of which is marked by certain stylistic features. Accordingly, the approach to nature, the nature and type of portrait, and pictorial and plastic techniques changed. The work of some artists fits within the framework of a certain stylistic direction, while for others it goes far beyond its boundaries.
In the second half of the 18th century. famous portrait painters worked F. S. Rokotov, creator of images full of subtle spirituality (portrait of V. I. Maykov, ca. 1765, Tretyakov Gallery), D.G.Levitsky, in his ceremonial and chamber portraits, emphasizing the spiritual breadth and harmonious integrity of his models (portrait of A. F. Kokorinov, 1769-1770, State Russian Museum; portraits of students of the Smolny Institute, ca. 1773-1776, State Russian Museum), V. L. Borovikovsky, author of female portraits imbued with subtle lyricism (portrait of M. I. Lopukhina, 1797, Tretyakov Gallery).
In the first half of the 19th century. The main character of portrait art becomes a romantic personality, diverse in its manifestations. Dreaminess and at the same time a penchant for heroic impulse, the lively naturalness of the face and the deliberate showiness of the pose are intertwined in the brush O. A. Kiprensky portrait of hussar E.V. Davydov (1809, Russian Museum). The romantic belief in the inexhaustibility of the spiritual powers of the human creator is captured in the self-portraits of O. A. Kiprensky (“Self-portrait with an album in hands”, 1823, Tretyakov Gallery) and K. P. Bryullov (1848, Tretyakov Gallery).
In the 1860-1870s. The democratic renewal of Russian art and the emergence of realism, which were fully reflected in the activities of the Itinerants, directly affected portraiture. One of the main places was occupied by a special type of portrait - a type portrait, where a person, depicted in all his psychological complexity, was also assessed by his role in society, recreated in an inextricable combination of his individual and typical traits. We saw above how N. N. Ge embodied this combination in the image of Herzen.
Ge’s followers on this path were V.G. Heroe (portrait of F.M. Dostoevsky, 1872, Tretyakov Gallery) and I.N. Kramskoy (portrait of L.N. Tolstoy, 1873, Tretyakov Gallery), who created an entire portrait gallery of outstanding contemporaries.
All life and creativity Kramskoy- the answer to this question. An artist of great creative temperament, a deep and original thinker, he always fought for advanced realistic art, for its ideological and democratic content. In 1863, it was he who initiated the “revolt of the 14,” when the best students of the Academy of Arts refused to write graduation works on far-fetched mythological themes devoid of social content and organized a kind of commune - the Artel of Artists.
Since 1870, Kramskoy was the founder and ideological leader of the Association of Traveling Art Exhibitions, a passionate promoter of realism in art. Not only such monumental paintings as “Christ in the Desert” reflected the artist’s tireless search for the ideal of citizenship and democracy.
Perhaps they are embodied to an even greater extent in many portraits of contemporaries painted by Kramskoy in the 60-70s. An intellectual commoner, walking the difficult path of life's trials, carefully and demandingly peering into the world around him—this is how the artist appears in “Self-Portrait” (1867, Tretyakov Gallery). This is not just a portrait, but a generalization portrait, in which something universal, natural, characteristic of all the best people of the era is conveyed through the individual, seemingly inherent only to the model. The same amazing fusion of the psychologically unique and typical of their time in the portraits of L. N. Tolstoy (1873) and N. A. Nekrasov (1877; both - Tretyakov Gallery). Special place Kramskoy's portraiture is dominated by images of peasants.
He does not depict dark people, oppressed by need, but a “Forest Man” who knows his worth and is ready to stand up for himself (1874, Tretyakov Gallery) or Mina Moiseev, charming in his wise cunning (1882, Russian Russian Museum; sketch for the painting “Peasant with a Bridle”, 1883, State Museum of Russian Art, Kiev).
The highest achievements in creating type portraits belong to I. E. Repin: he finds in his models uniquely specific poses, gestures, facial expressions inherent only to them, and with their help conveys both the spiritual characteristics of the personality and its social characteristics.
One of the factors that changed the appearance of portrait works at the end of the 19th century was the plein air. In turning to the plein air, many Russian artists saw an opportunity to “move” towards the sun, the air, an opportunity to resolve light, color and spatial problems. Plein air painting, dating back to the work of A.A. Ivanov, in Russian art of the second half of the 19th century is associated primarily with the names of V.D. Polenov and I.E. Repina. A brilliant implementation of the principles of plein air was found in Repin’s paintings “Religious Procession in the Kursk Province” (1883) and “They Didn’t Expect” (1884).
Elements of plein air are also contained in some other works of the artist of that time, in particular, in the portraits of M.P. Mussorgsky (1881) and V.V. Stasova (1883). In Repin's art, the plein air became an important factor in the last, final stage of creativity. Repin now prefers to paint young people, especially girls, among nature, illuminated by the sun. These portraits, painted with light, pure colors, affirm the beauty and all-conquering power of youth (“Belarus”, 1892; “Autumn Bouquet”, 1892; “Under the Sun”, 1900). New trends in art affected the artistic worldview and some other pillars of the Wandering movement. They make themselves felt in Yaroshenko’s portrait studies made in the bright sun, in his portrait of N.N. Ge (1890), less typified than others, containing an emotional approach to the model, which the artist organically connects with her natural creative environment, in the portrait of N.I. Petrunkevich (1893) by Ge, although dark in color, but both in the choice of model and situation, and in its general mood, certainly echoes the growing young art.
He acts as a portrait painter, a master of everyday and historical painting. The portrait was not only the leading genre, but also the basis of Repin’s work in general. When working on large canvases, he systematically turned to portrait sketches to clarify the appearance and characteristics of the characters. These are “Protodeacon” (1877) and “The Hunchback” (1881, State Russian Museum), portraits associated with the painting “Religious procession in the Kursk province” (1880-1883, Tretyakov Gallery). As in “Barge Haulers on the Volga,” but on a larger scale, Repin’s great ability to feel and convey the spontaneous life of a mass, a crowd of people, without losing the individual, portrait originality of each face, was revealed here.
The characteristics of the privileged part of the crowd - the landowner, the merchant, the priest - are marked by the spirit of social-critical irony. In his figurative interpretation of ordinary people, beggars, and wanderers, Repin remains a humanist and realist, seeing both the moral superiority of the people and their delusions. The false piety of the well-fed public is contrasted with the deeply sincere but blind hope of the disadvantaged to break through to their truth in a world of oppression and injustice. Following V. G. Perov and I. N. Kramskoy, Repin continues to create a gallery of images of outstanding representatives of Russian social thought, science and culture.
In his best portraits - V.V. Stasov, L.N. Tolstoy, M.P. Mussorgsky, Repin achieves fullness of life and versatility of characterization thanks to amazing compositional ingenuity and the activity of visual means, alien to predilection for any one manner: she always corresponds to the “manner” - habit, posture, temperament - of the person being portrayed.
One of the main themes of Repin’s genre paintings is typical moments in the life of a Russian revolutionary populist (“Arrest of a Propagandist,” 1880–1892; “Refusal of Confession,” 1879–1885 and “They Didn’t Expect,” 1884–1888, all in the Tretyakov Gallery). The range of psychological reactions to the event reflected by the artist in the painting “We Didn’t Expect” - amazement, distrust, joy - is undoubtedly dominated by the silent dialogue of the views of the mother and the son who returned from exile. The hero of the picture, without renouncing the past, is waiting not for compassion and petition, but for understanding and justification of the need for that sacrifice in the name of duty to the people who once forced him to leave native home. Recognition by the family of the civil feat of a father, brother, son is put forward by Repin as a problem of broad universal significance. The penchant for psychological drama in depicting situations is also reflected in Repin’s historical painting. The artist strives to show historical heroes in moments of extreme emotional tension. This trend reaches its culmination in the painting “Ivan the Terrible and his son Ivan on November 16, 1581” (1885, Tretyakov Gallery).
The content of the picture, in addition to the specific historical verisimilitude of the situation and characters, speaks of the “eternal” conflict of punishing the despot with the torment of repentance for innocently shed blood. In the painting “The Cossacks Write a Letter to the Turkish Sultan” (1878-1891, Russian Museum) there is a different idea associated with the search for a life-affirming ideal and heroic characters. The last high rise of Repin’s talent dates back to the beginning of the 20th century, when the artist was working on a grandiose group portrait-painting “Ceremonial Meeting” State Council"(1901-1903, State Russian Museum), completing a series of sketches distinguished by remarkable sharpness of characterization and pictorial freedom. Genuine civic pathos, democracy, expressed not only in a deep understanding and depiction of people's life, but in the clarity and accessibility of the visual language itself, the highest realistic skill, truth of character, interest in the burning issues of our time - the key to the enduring value of Repin's art.
Repin's experience in the field of plein air portraiture was continued and enriched by painters of the younger generation - his student V.A. Serov and K.A. Korovin, whose works are “Girl with Peaches” (1887), “Girl Illuminated by the Sun” (1888), “Chorus Girl” (1883), portrait of T.S. Lyubatovich (1886?) - were a true revelation for his contemporaries. These works show not only the character of those portrayed and their inherent individual characteristics, the figures of the girls are closely connected with the external environment, everything is permeated with light and air.
Russian portraiture has never known such a direct perception of the world, such convincingness of a situation, freshness, sonority and purity of color. And what is especially important in this case is that the light in the works of young Russian artists not only did not dissolve the human figure, as often happened in the works of Western impressionism, but, on the contrary, contributed to the revelation of the truth of life and the creation of spiritualized poetic images.
Plein air enriched Russian painting in many ways, but at the same time it was fraught with a certain danger, especially for portrait painting. He introduced into it a moment of fleetingness, immediacy, which, with excessive enthusiasm for light and color effects, threatened to be lost in the portrait of a person. Nevertheless, throughout the 1890s and even the first two decades of the 20th century, a number of Russian artists skillfully used both plein air and some impressionistic techniques in portraiture.
However, it is important to emphasize that the progressive movement of painting went in a different direction, towards enhancing the features of decorativeness and monumentality. The works of Serov and Korovin in the 1880s became an important link in the development of the portrait genre. In many ways expanding its concept, they showed themselves to be truly new type portrait. The generally accepted form of portrait in the second half of the 19th century was a half-length, less often bust-length or knee-length image. Artists focused almost all their attention on studying the human face.
Presented against a neutral background, he seemed to isolate himself from the outside world and withdraw into himself. In “Girls” by Serov and the portrait of Lyubatovich Korovin, the space taken is much more generous and wider. The interior or landscape is not just a background, but an organic natural environment. One of the main trends in the development of Russian portrait art of this period also manifested itself here - the tendency towards a generalized synthetic pictorial transformation of images. After all, these are not just portraits, but portraits-paintings. What makes them so is the presence of the surroundings, as well as the content, the significance of the portrait characteristics themselves, and their synthetic structure. It is no coincidence that Serov’s “Girl with Peaches” and “Girl Illuminated by the Sun” became a symbol of timeless values - youth, the beauty of life, the closeness of man and nature.
Their strength is in the precisely found measure of the particular and the general, the concrete individual and the typical, the sensual and the rationalistic, the instantaneous and the eternal. Expanding genre boundaries opened up new opportunities for artists. The characterization of the person being portrayed included additional components that helped to describe the model more comprehensively, talk about her lifestyle, tastes and interests, manner of dressing, deportment, etc. For many artists, interest in circumstance contributed to enhancing the emotional expressiveness of the image; for others, it muffled its sound, shifted attention to minor details, weakening psychological interpretation personality.
Portraiture in Russian painting of the late 19th - early 20th centuries is a phenomenon of large artistic scale. It is unusually diverse in its forms, stylistic features, and visual language. The highest manifestations of the genre are characterized by a creative understanding of nature, poetic imagery, enrichment of expressive means, and artistry. And even if the model’s personality is sometimes not fully revealed in them, they still vividly characterize the era and reveal the peculiarities of its spiritual life and artistic quests. A deep sense of time and a keen sense of the era are one of the strongest aspects of the best portraits created at the turn of the century. The creative path of artists whose talent was formed during this difficult transitional time was not easy. After the Great October revolution The activities of many masters of the brush received a new direction. Malyutin, Brodsky, Petrov-Vodkin, Nesterov, Saryan, P. Kuznetsov, Mashkov, Konchalovsky, Altman, Lentulov, Osmerkin and many others joined the ranks of Soviet artists and became builders of the art of socialist realism.
Portraits play an important role in Soviet art. The need to capture the image of a new person, marked by such spiritual qualities as collectivism and revolutionary determination, stimulated the further development of the realistic type portrait; such works as “Chairwoman” by G. G. Ryazhsky (1928, Tretyakov Gallery), “Partisan” by N. I. Strunnikov (1929, Tretyakov Gallery), “Academician I. P. Pavlov” by M. V. Nesterov (1935, Tretyakov Gallery) , became capacious symbols of the era of socialist reconstruction of society. The holistic, living and multifaceted image of V. I. Lenin is recreated by the sculptor N. A. Andreev’s “Leninian” - a unique series consisting of more than 100 sculptural portraits of the leader of the proletariat (1919-1932, V. I. Lenin Museum and State Tretyakov Gallery).
Best qualities Soviet people are reflected in portraits of the Great Patriotic War Patriotic War. The Soviet portrait developed widely and multifacetedly in the post-war years. A. A. Plastov embodied typical, stable traits of folk character in the images of countrymen. Unexpected compositional angles and contrasts of local color spots emphasize the acuteness of the psychological characteristics in the works of P. D. Korin. T. T. / Salakhova (“Composer Kara Karaev”, 1960, Tretyakov Gallery). The significance of the characters and the constant readiness for action are felt behind the external impassivity of the characters in D. I. Zhilinsky’s painting “Gymnasts of the USSR” (1964, Tretyakov Gallery). A modern Soviet portrait not only allows us to look deeper into the inner world of our contemporary, but also actively participates in the formation of new spiritual values of Soviet society.
One of the significant facets of this genre remains the imprinting in painting, graphics, sculpture of images of outstanding Soviet statesmen and public figures, as well as representatives of science, culture and art. The great public interest in the portrait genre is evidenced by regularly held last years special portrait exhibitions.
Girl with peaches. Portrait of Vera Savvishna Mamontova (1875-1907), married to Samarina. 1887
“Girl with Peaches” is Serov’s first major work, embodying the artist’s understanding of the new tasks of painting, and, in particular, portrait painting. The canvas is designed as a portrait-painting, where a person is shown in his closest, most familiar surroundings. Devoid of the features of everyday life, the image is spiritualized and sublime. The truth of life, the concreteness of psychological analysis are combined in the picture with poetic transformation, deep penetration into nature - with the sincerity and sincerity of its perception. Light plein air painting, imbued with freshness and a subtle sense of nature, helps reveal the character of the person being portrayed. “We have never seen in paintings such air, nor light, nor this quivering warmth, almost tangibility of life,” argued I.E. Grabar.
The young man Serov, who often visited Abramtsevo, was friendly with the children of S.I. Mamontova. In the youngest - a cheerful, cheerful, active girl - he found that “pleasant” thing that he dreamed of when, after leaving the Academy, he began to work independently. “The idea of a portrait originated like this,” writes M.V., who visited Abramtsevo the following year. Nesterov. - Verushka remained at the table after dinner, everyone left, and her interlocutor was only the extremely silent Serov. After long contemplation, he asked her to give him ten sessions, but they were not enough, and he worked for a whole month. A wonderful thing came out that in Paris would have made his name, if not loud, then famous...” The power of a portrait lies not only in the charm of the image, sonority, purity and cheerfulness of color. “I really wanted to preserve the freshness of the painting while being completely complete,” said Serov. The appearance of Vera Mamontova, her costume, and the interior of the old landowner’s house (the former Aksakov estate) capture truly Russian life, “a whole stripe of Russian culture” (Grabar).
Not many contemporaries were able to appreciate this work. Among those who were greatly impressed by it was V.V. Stasov. Considering Serov the most outstanding and talented of the newest Russian portrait painters, he wrote: “... the young artist mastered a strong, picturesque and lively color, which gave great charm to all his excellent portraits. The best and most perfect of all is, in my opinion, the sincerely naive, a simple, sincere portrait of a young girl, Mamontova (sitting at the table)...".
Over the years, the portrait of a teenage girl acquired a broader and more abstract meaning, turning (like Serov’s “Girl Illuminated by the Sun” painted a year later) into a painting that personifies the charm of youth, the eternal joy of being. For this portrait in 1888, the artist received a prize from the Moscow Society of Art Lovers.
Autumn bouquet. Portrait of Vera Ilyinichna Repina (1872-1948), the artist’s daughter. 1892
Repin belongs to the galaxy of outstanding masters of critical realism. His paintings “Barge Haulers on the Volga” (1870-1873), “Religious Procession in the Kursk Province” (1880-1883), “They Didn’t Expect” (1884), “Refusal of Confession” (1879-1885), portraits of M.P. Mussorgsky (1881), V.V. Stasova (1883), L.N. Tolstoy (1887) and other works determined the highest achievements of Russian painting of the second half of the 19th century. A.N. Benois noted that Repin’s paintings captivated democratically minded youth and “disturbed public opinion” like no other artist’s work. In the late 1880s and early 1890s, Repin painted mainly portraits. They embodied his understanding of new tasks , who confronted art at the turn of two eras and excited artists at that time. Repin described them as conveying “poetry in life,... vital beauty.”2 An excellent master of the plein air (“On the turf bench”, 1876; “Religious procession in the Kursk province” 1880 -1883), the artist during these years became especially interested in working outdoors, and the landscape, more than ever before, began to play a large role in many of his portraits. "Autumn Bouquet" is one of Repin's first-class works of the 1890s. It was created in Zdravnevo, the artist's estate, located in the Vitebsk province on the banks of the Western Dvina. His beloved daughter Vera Ilyinichna posed for Repin. She was a gifted person - she studied painting, sang, having completed special courses at the Alexandrinsky Theater, and performed for some time on private stages in St. Petersburg and other cities. Later, however, she did not find herself in art and from 1914 began running a household on her father’s estate in Penates. When starting work on the portrait, the artist informed his daughter L.N. Tolstoy, T.L. Tolstoy: “Now he began to write from Vera: in the middle of the garden, with a large bouquet of rough autumn flowers, with a boutonniere of thin, graceful ones; wearing a beret, expressing a feeling of life, youth and bliss”3. With great love, the artist conveyed a face that was attractive with its youth, cheerfulness, and health. The expanses of fields, still blooming, but touched by the yellowness of the grass, green trees, and the transparency of the air bring an invigorating mood to the work. The figure of the girl depicted in the foreground is interpreted plastically, volumetrically, materially.
The colorful bouquet in her hands seemed to have absorbed all the colors of the canvas. Using subtle color combinations, the artist connected the human figure with the landscape and conveyed the feeling of a light-saturated environment. The optimistic content of “Autumn Bouquet”, its pictorial structure, and plein air nature are the distinctive features of the work in question. The image created in the painting is unusually characteristic of Repin. Embodying in it his idea of “vital beauty,” the artist is still far from idealization or, as he himself said, from “slickness, vulgarity” passed off as “elegant.” The “common people”, “mercilessly truthful realism” characteristic of Repin was fully demonstrated in the portrait.
“Autumn Bouquet”, together with the painting “Hunter” (depicted by N.I. Repina), also performed in Zdravnev, was exhibited at the XXI exhibition of the Association of Traveling Art Exhibitions in 1893. The work was highly praised in the press. Many artists attributed it to the best works, presented at the exhibition and “created a sensation.”
Portrait of Natalia Ivanovna Petrunkevich, married to Konisskaya. 1893
Ge, as a person of a philosophical mindset, was most fascinated by historical and religious-moral topics. His famous painting “Peter I Interrogates Tsarevich Alexei” (1871) is rightly considered one of the significant works of Russian historical painting of the second half of the 19th century. The artist dreamed of a moral transformation of society and in a number of paintings on gospel themes (“The Last Supper”, 1863; “Calvary”, 1893; “The Crucifixion”, 1894, and others) sought to embody his faith in the high universal ideals of goodness, love, justice. Ge began working on portraits while still studying at the Academy of Arts. Over the many years of creativity, he painted many of his contemporaries. These were mainly leading cultural figures: M.E. Saltykov-Shchedrin, N.I. Kostomarov, I.S. Turgenev, N.A. Nekrasov, M.M. Antokolsky, L.I. Tolstoy and others. Ge also owns one of the best portraits of A.I. Herzen. The works, executed in the 1850s - 1880s, are distinguished by their deep penetration into the spiritual world of the model. The person in them is usually shown in a state of intense thought. Most of these are full-length portraits, their color scheme is dark and restrained. The portrait of Natalia Ivanovna Petrunkevich was painted by the artist at the end of his life. Ge is now fascinated not so much by comprehending the uniqueness of the model, but by conveying a certain mood. The girl is depicted almost in full growth near the open window. She is immersed in reading. Her face, given in profile, the tilt of her head, and her posture express a state of thoughtfulness. More than ever, Ge paid great attention to the background. The beautifully rendered landscape outside the window, the last pre-sunset rays of the sun sliding through the foliage, and the deepening twilight introduce into the work a feeling of the transience of time, some wariness and anxiety. In terms of the spirituality of the image and its lyrical interpretation, as well as the desire for a plein-air solution, this picture is similar to some works created in the 1880s by young artists V.A. Serov and K.A. Korovin. The portrait was painted in the Chernigov province on a farm that belonged to Ge. Outside the window of the room there is a view of the alley of giant poplars and birches leading to the artist’s house.
The daughter of the landowners Petrunkevich, who lived next door, posed for Ge. Recently it became known that N.I. Petrunkevich in the years civil war was shot by the Petliurists. The work was exhibited at the XXI exhibition of the Association of Traveling Art Exhibitions in 1893. I.E. Repin, having visited the exhibition, reported to L.N. Tolstoy: “The way the painter made great success against his last works. I really liked his girl standing at the open window with the background of a garden illuminated by the setting sun." V.A. Serov also highly appreciated this work. In 1910 he wrote to I.S. Ostroukhov: "... why not make inquiries regarding portrait of Ge - Mrs. Petrunkevich? Maybe they would have sold it to the Gallery - it’s an excellent thing and I remember it very well.” On Serov’s recommendation, the portrait was purchased for the Tretyakov Gallery.
MINISTRY OF EDUCATION OF THE REPUBLIC OF MOLDOVA
GENERAL DIRECTORATE OF EDUCATION, YOUTH AND SPORT RISCANI
NIKHORENE THEORETICAL LYCEUM NAMED AFTER KONSTANTIN POPOVIC
ESSAY ON THE TOPIC OF:
« PROFESSIONAL
PORTRAIT OF A TEACHER"
Teacher
SLOBODIANYUK O. M.
2014 – 2015 academic year
As a child, in our fantasies, I think each of us drew a portrait of an ideal teacher. Before us we saw a kind, understanding person. We wanted the teacher to love us, respect us, and appreciate our slightest success. This is just part of what children dream about when they first cross the threshold of school.
Many enthusiastic, kind, demanding and self-critical words have been said about the teacher by simple and outstanding people. I, in turn, tried to understand the essence of this concept through understanding the essence of the letters included in it. So, U - aspiration, H - man, I - truth, T - creation, E - unity, L - love, - L. As a result, it turns out that the Teacher is a Person striving for the Truth, Creating Unity and Love.
A teacher is a calling, teaching is a service, not a job. Moreover, in my opinion, a teacher is not a profession, it is a way of life.
Today I myself am a Teacher! And, oddly enough, modern children dream of the same thing that we dreamed of, drawing for ourselves the image of a teacher... Love, kindness, sincerity - this is what a modern student needs from a modern teacher.
One French writer said: “Someone is always watching you: God, Mom, Teacher...”. It is teachers who open the world to children, give the truth and accept children's first discoveries. It is the teacher who should be a role model, the standard of all that is right and wise.
A modern teacher, in my opinion, is a professional who is forced to know about a lot of areas directly related to his subject, have an idea about other subjects, and possess a set of qualities that contribute to the successful transfer of knowledge. This is a citizen who, at every lesson, cultivates in his children kindness, mercy, honesty, decency, love for the Motherland - qualities that constitute the enduring value of human culture in all centuries. When necessary, he is an artist, an artist; when needed, he is a writer, a singer. At the same time, he is always a student. No wonder the Russian folk proverb says: “Teach others, and you yourself will understand.” A modern teacher is one who always learns to be creative and creates: himself as a person, a lesson, a student...
And yet, the main goal of our teaching activity is to prepare students for a worthy entry into life, which actually exists, is complex and contradictory. Therefore, a modern teacher needs to make a lot of effort to make the child’s life at school interesting, joyful, successful; it is necessary to understand the problems and see the merits of each student, skillfully combine a kind attitude and exactingness in communication and work.
Pedagogical activity is like a mosaic, where an image is made up of pieces that must be selected according to color, shape, size. The work is painstaking and time-consuming. The particles don't always match. Sometimes you have to re-arrange and reconsider everything.
A teacher is only a teacher when he feels that his accumulated experience and knowledge allow him to lead his students. He has a huge responsibility for every touch with a word, thought, gesture to the mind, soul of the child. A child needs a teacher, not a puppet informant, but an ally, a friend, capable of selflessly giving knowledge, kindness, love...
Through my work, I try to ensure that the most important, basic features of the relationships between my students are cordiality, tact, and respect for each other’s thoughts, desires, and feelings. And as I work, I try to develop my own formula for success, which is the sum of the following components so necessary for a modern teacher:
Love for your business + inspiration + competence + foresight.
But the main thing is recognition when you see a reflection of what you wanted to get as a result of the work done, in the eyes of students, parents, colleagues, and others. And when, when the bell rings, my students do not jump up from their seats, but speak with regret about the end of the lesson, I understand that it is not for nothing that I come to school and that I have chosen my profession correctly.
We have many good teachers who deserve the highest praise. Everything begins with the teacher, with the school. He is the beginning of all beginnings. Indeed, there is no more important figure in our society than the teacher. It is he who, sparing no effort, can develop unknown talents in his young friends, develop a desire to understand the world around him, and a desire to work for the good of the Fatherland. And how can we not remember the words that “if a teacher has only love for his work, he will be a good teacher. If the teacher has only love for the student, like a father, mother, he will better than that a teacher who has read all the books, but has no love for either the work or the students. If a teacher combines love for his work and for his students, he is a perfect teacher.” Thus, a modern teacher is a person who is dedicated to his work, loves his students, works on himself, is tactful, knows how to find the key to a child’s heart, and uses the latest achievements of science and technology. And today the words of the Italian writer of the 19th century are not outdated: “A teacher is a candle that shines for others, burning itself out.”
ESSAY ON THE TOPIC OF:
« PORTRAIT OF A MODERN TEACHER"
Reshetnikova Svetlana Nikolaevna,
primary school teacher,
MBOU Astrakhan "Secondary School No. 12"
Essay “Portrait of a Modern Teacher”
A teacher of the 21st century is a creator in a variety of areas of pedagogical activity: an experienced technologist, an organizer, always striving to sum up his work and generalize his experience.
It is not easy to talk about sad things, and yet we will believe that the teacher of the 21st century will finally become a specialist in a highly paid profession. The degree of dedication that is inherent in the people of our specialty will sooner or later be deservedly appreciated by the society of the future.
"A teacher, regardless of gender, must dress strictly, modestly, cleanly and neatly, avoid bright, flashy colors. Already appearance he will be able to set an example of good taste to his students. Of course, shoes should be thoroughly cleaned, hairstyle should be neat, and manicure should be classic. However, clothing is only part of the appearance; behavior is important.
“A modern teacher must keep up with the times” - both teachers and students agree with this opinion. But what does it mean? It is no secret that time does not stand still, the volume and quality of information, the content of school programs, textbooks, and teaching aids are rapidly changing. The use of computer technology is becoming common in the activities of teachers. Of course, a computer helps to obtain information, a book gives food for thought, but only a teacher can teach and educate. His task is to fill the student’s world with moral colors, to believe in the good and see the best in the students, which is not yet there, but will definitely appear later, and also to teach him to study in such a way that the student can and wants to independently obtain knowledge. And, of course, there should be an assistant teacher, a partner teacher and a collaborator nearby.
A teacher who has pleasant demeanor, and this includes facial expressions, gestures, posture, and communication skills, wins people over. All manners of a teacher should have one common feature - adherence to pedagogical tact, which includes increased sensitivity to others and the ability to find a form of communication with another person that would allow him to maintain personal dignity. Personal qualities in the teaching profession are inseparable from professional ones. Over time, the level of demands placed on us becomes higher and higher. Today we really must know and be able to do a lot, otherwise we will not be interesting to our students. But we must not forget about moral qualities. And for this we need our heart, the main pedagogical tool of the teacher, to be sighted. A tool for learning about oneself, life, and the soul of a child.
Today, a teacher should be not only a source of knowledge, but also an active participant in the educational process. To involve each child in the learning process, to be able to listen to him, to make him his assistant, to look through the eyes of a student at a problem that worries him - this is the teacher’s task. Only a teacher who is well versed in the methodology can properly organize teaching activities and prepare for the lesson. Nowadays there is a lot of talk about innovation in the educational process. Teachers at our school do not have a common idea about innovation. Not every teacher has comprehended his own teaching, developmental and educational role in the modern pedagogical process. Not every teacher is ready to make the student an equal participant in the pedagogical process. Not every teacher has yet identified his or her priority teaching objectives.
A teacher is a calling, teaching is a service, not a job.
A professional teacher does not go to work, does not serve class hours, but lives together with the children, experiences everything that happens every day, bringing together painstaking invisible creativity in preparing for lessons, and extracurricular work on the subject, and all the diverse activities in cooperation with students. At the same time, he shows a desire to work creatively. The creative activity of the teacher, which involves the development of the child, is built on anticipation, on constant creative search in all types of interaction with students.
A teacher must keep up with the times: use innovations and various methods in his work, and must be fluent in the material being taught. But most importantly, he must be a PERSON WITH A CAPITAL LETTER. We must leave negativity outside the school threshold, and bring and sow to children what is good, reasonable, eternal, no matter how hard it is in the soul. It would not hurt to remember folk wisdom in the form of proverbs and sayings: “As it comes around, so it will respond.” What will respond to us in the near future depends on us. We are scared to think about the future, so maybe we should think about who we are raising and what we want to get.
Whatever the public opinion, one thing is clear: the country needs new teaching staff and new specialists, like former school graduates, who are able to realize themselves in the future. As for the personality of the teacher, I think the essence of a Real teacher lies in the very word “TEACHER”:
U is unique, smart, successful, versatile, and knows how to present material professionally.
H - honest, humane, sensitive, with a sense of humor.
And - sincere, individuality.
T - tactful, tolerant, patient.
E is a natural, like-minded person.
L - loves children, loves his job.
b - and very soft, like a soft sign and the word itself!
… and this truth will be timeless.
Literature
1. Bordovskaya I. V., Rean A. A. Pedagogy. Textbook for university. M.: Peter, 2005.
2. Introduction to teaching. Textbook manual / ed. A. S. Robotova, T. V. Leontieva, I. G. Shaposhnikova / M.: Academy, 2008.
3. Kolesnikova I. A., M. P. Gorchakova-Sibirskaya Pedagogical design. Textbook for higher educational institutions, M., Academy, 2006.
4. Kolesnika I. A., Borytko N. M., Polyakov S. D. Educational activities of teachers. Textbook for higher educational institutions M.: Academy, 2008.
5. Frolovskaya M. N. Formation of a teacher’s professional image of the world: Abstract. dis. ..., 2009.
6. http://nsportol.ru/shkola/korrektsionnaya-pedagogika/library/2011/09/25/esse-portret sovremennogo-uchitelya-s-uchetom.
7.http://konovalovanata.ucoz.ru/publ/ehsse_portrer_sovremennogo_uchitlija_s_uchetom_kompetentnogo_podkhoola_v_obuchenii/1–1-0–5.
