Where to study contemporary art in Russia. Creative education in Russia: training and prospects Rating of architectural and art universities

Material prepared by Anna Pashina

It’s a gratifying fact: the art community and creative class exist in Russia. The number of public and private educational institutions that graduate artists, curators, art historians, graphic designers and other representatives of the “liberal” professions is growing every year. The sad fact: having received an excellent education and easily understanding philosophical concepts, classical and modern art, graduates are faced with the problem of applying their knowledge and skills in practice. Where to get art education in Russia? We present an overview of the best educational institutions - academic and focused on contemporary art.

Academic education

One of the leading and oldest art universities Russia. Faculties: painting, graphics, sculpture, architecture, theory and art history.

Its history dates back to 1757, the successor of the Imperial Academy of Arts. Faculties: painting, graphics, sculpture, architecture, theory and history of fine arts.

Trains artists in 5 specialties and 17 specializations: interior and furniture design, development of decorative and furniture fabrics, trains specialists in various fields of design, historians and art theorists, artists of monumental painting and sculptors, artists of metal, ceramics and glass, restorers of monumental art painting, furniture and metal art.

It was created in 2015 by combining two faculties: Art and Graphics and Music.

Founded in 1987. Rector Ilya Glazunov considers the revival of realism in art to be his main task.

Educational programs: painting, graphics, design of the architectural environment, theory and history of art, design, creative arts and folk crafts, restoration.

Modern Art

The first institution in the field of contemporary art created in Russia (1991).

Founder artist Anatoly Osmolovsky formulates his task as follows: “Not so much to provide knowledge in an alienated mode, but to create a creative environment.”

Prepares contemporary artists, professionals in the field of photography and multimedia in the following areas: documentary photography, art photography, video art and multimedia.

Educational center of the Moscow Museum of Modern Art, created for young artists and curators starting to work in the field of contemporary art.

The goal of the school is to develop the creativity and critical thinking of young artists, create a field for their professional communication and support new projects. The training lasts one and a half years

Two-year program for training curators.

Artists of the “Voronezh wave” are a noticeable phenomenon on the Russian art scene. One of the most active regional centers in the development of contemporary art.

Applied education and further education

The famous British woman trains specialists in the field of design.

Branches - in Moscow and St. Petersburg. The institute trains specialists in the field of decorative and applied arts.

Additional education – courses, lectures

Courses on the history of classical and modern art, film history, as well as art practice and art management.

The peculiarity of the courses is the combination of theory and practice.

Lectures on domestic and foreign contemporary art, as well as interdisciplinary artistic practices.

Trains art historians, antiques experts and art managers.

The first online school of creative management in Russian. They talk about how to organize an exhibition, a city festival, stage a play, or transport a work of art.

Online school of Anastasia Postrigay with theoretical lectures on the history of art.

Online school of design and illustration. The basis of the program is a system of courses in design, illustration and related sciences. The school's courses are intended not only for designers and artists, but also for those who want to become them.

RMA Business School was founded in 2000 and today is one of the leaders in the field of business education in Russia. The school has a program in Art Management and Gallery Business. It will help you understand contemporary art and the art market, learn about organizing exhibitions and pricing, develop a base of useful contacts and find like-minded people.

UDC 7.072.2:378

Yu. I. Harutyunyan

Art and art criticism in the system of modern humanitarian education

Art and art criticism play a fundamentally important role in the system of modern humanities education. Turning to the practical component of training, expanding the methodological base, mastering the principles of description and analysis of monuments using specific empirical material makes it possible to update the acquired knowledge, involving a wide range of phenomena of modern artistic practice in the field of activity of an art critic. Interdisciplinary approach to curriculum development, development of network programs and development of principles interactive learning and the introduction of practical courses affect the activation of student work, primarily within the framework of creative tasks and project development.

Keywords: art history, education system, humanities education, modern visual practices, interactive teaching methods, interdisciplinary programs

Julia I. Arutyunyan Art and art history in system of modern humanitarian education

An art and art history play a crucial role in the system of modern liberal education. Turning to the practical component of training, the expansion of the methodological framework, the development of principles of the description and analysis of monuments specific empirical material allow to update the knowledge, engaging in the field of art with a wide range of phenomena of contemporary artistic practice. An interdisciplinary approach to developing the curriculum, the formation of a network of programs and development of principles of interactive learning and implementation of practical courses affect the activation of the student's work, especially within the creative tasks and development projects.

Key words: art history education, humanities, contemporary visual art practice, interactive teaching methods, interdisciplinary program

Art history, like many others scientific disciplines, formed in late XIX century and developed the main methodological approaches in the first half to mid-twentieth century, faced a number of research and pedagogical problems in modern world. Vector change educational activities and the transfer of emphasis from the discipline and the extensive lecture course to the student and the practical lesson developed taking into account various interactive methods of work transform the traditional principles of presenting the material. “The turning point caused in domestic pedagogical practice by the transition to new education standards coincided with a breakthrough in the field information technologies, which transformed the world and gave rise to the transformation of the classical structure of the lecture course"1. Responding to the challenges of the time, modern humanities education builds fundamentally new strategies in relation to the formation and implementation of educational standards, offers various ways to achieve the goal, develops a system for assessing results and a scheme for the relationship between theoretical and practical, individual and universal in solving problems

tasks. The integrative nature of modern humanitarian knowledge based on synthesis different approaches to the analysis of phenomena, gives rise to new opportunities in the development of teaching methods for a number of subjects.

From its very foundations, the traditions of art history education have considered description and analysis to be the fundamental method of teaching. The first curricula, formed in 1936, assumed the widespread use of methods of formal and comparative analysis when working with monuments of diverse regions, periods and styles, various types and genres of art, including works of contemporary masters and student works2. Such an educational method involves solving the problem of the object of analysis, a conscious and determined by the learning objectives principle of material selection, the perception of analysis and description as successive stages on the path to understanding and interpreting the monument. Of course, it is necessary to gain insight into the essence of working with the subject, a “material science” approach, and awareness of the uniqueness and significance of the original. When developing an analysis scheme, involving interactive approaches and methods of “project activity” within the framework of creative

assignments, it is necessary to take into account not only a strict system of criteria for completing educational work at a high scientific level, but also the possibility of involving the entire team in the work process, and most importantly - the opportunity to demonstrate individual creative abilities and achievements in the field being studied.

The scope of application of this approach, which requires the teacher and student to have a responsible understanding of the meaning of the original, a desire to expand the range of scientific approaches, independence in relying on modern interactive technologies in education and interdisciplinary methods of analysis, covers phenomena related to the sphere of traditional and folk art, which currently occupies your specific niche in the system higher education. Classical art has been considered as a basis for training both the theoretical student and the artist since ancient times, but in the pedagogical practice of art history, turning to the scientific development of folk art is a modern phenomenon that requires comprehension and development of methodology. Folk art as a discipline in the curriculum involves the formation of a certain basis for mastering the material, comprehending its fundamentals, the problem is brought to the fore integrated approach and interdisciplinary methods for studying monuments of this type within the framework of the proposed course. It should be added that the understanding of art as a craft and “exact science” since the time of Leonardo da Vinci has been perceived as the most effective alternative in the process of teaching and understanding the phenomenon of artistic and theoretical education; it is not without reason that the idea: “Painting is a science and the legitimate daughter of nature”3 remains traditional approach in numerous art academies, where decorative and applied arts were developed and folk art was studied (primarily from the point of view of the historical accuracy of costume and utensils)4.

The interpretation of influences and citation of the “source”, which requires thoughtful approaches to the analysis of the principles of interpretation, can also be addressed within the framework of the problem being studied, concerning both work with the art of the classical era, and with folk tradition and current artistic practices5. In the curriculum it is necessary to give special place to courses devoted to both theoretical aspects of research, methods of working with material, principles of description and analysis of phenomena, and folk art. The question of the relationship deserves special attention traditional methods analysis used

in art history, and characteristic features non-classical art, which requires the solution of certain problems associated with the formation of a set of approaches to the interpretation of both an individual work and a group of monuments, interdisciplinary research principles become relevant in such a context.

The problem of “visual and virtual” is reflected in the patterns of perception and interpretation of the monument; here the work of the teacher within the framework of pedagogical practice becomes acutely relevant, where the means of reproduction and the possibility of introducing a visual range are fundamentally important both for lectures and interactive classes, and for independent work student. The illusion of “accessibility” of a work of art, given modern means of communication and technical reproduction capabilities, should not affect the attitude towards the original, a unique work, which is why in this context the work on display in a museum or gallery acquires such significance. The problem of “monument” and “original” must be solved at the level of organizing the educational process; the student must be aware of the value of the monument, the boundary between a real object and its image, etc.6 The problem of “technical reproducibility”7 in organizing the educational process becomes important, if not crucial because the viewer's experience in a museum is different from working with any type of reproduced image. The experience of direct study of architecture can extend not only to the monuments themselves, but also to architectural graphics, book illustration, architecture in scenography, decorative and applied arts and costume; The phenomenon of “screen architecture”8 is also interesting in the 21st century. The structures themselves are often turned into projection screens and act as an element of installation.

Modern education is also focused on remote methods education, where the problem of the relationship between theory and practice must be solved through the development of practical tasks, interactive approaches and new methods of independent work for students. Undoubtedly, distance learning expands the possibilities, but requires a well-thought-out organizational scheme and very complex technical and methodological support. Creative practical tasks can be solved in the context of problems of studying style both in architecture and in the fine and decorative arts. The analysis of the monument should

Yu. I. Harutyunyan

be considered as a basis practical work art critic

The problem of the practical component in modern liberal arts education is actively discussed last years, is touched upon within the framework of conferences and publications, and is mastered as part of the transformation of requirements for the results of mastering courses and acquiring certain competencies (Federal State Educational Standard (3+)). The peculiarities of the education of an art historian within the framework of a three-stage education system consist, first of all, in the need to understand the specific requirements for a graduate of each level of education (bachelor, master, postgraduate graduate). Sphere professional activity The field of art criticism has expanded significantly in recent decades, but the requirements for professionalism, mastery of a whole range of professional skills, and the ability to learn and quickly acquire the necessary knowledge have also become more complex. Practical art criticism as a way out to the problems of research, teaching, museum work and restoration requires new theoretical and methodological approaches. The modern education system is faced with the question of expanding the practical part of the course in pedagogical activity teacher, in organizing the learning process, in conducting practices. In such a context, the place and role of the applied bachelor's degree are highlighted, the development of interdisciplinary programs becomes necessary, adherence to the principle of the sequence of stages of education, and the issue of interaction between academic and applied forms of education is raised. The problem remains that the presence in the recent past of a strict distinction between specialties raises the question of the relationship between the direction of study (diploma specialty, basic education) and the place of work, which does not fully take into account the modern trend in post-non-classical science, focused on synthesis and interdisciplinary approaches. The transformation of requirements for a graduate inevitably gives rise to an expansion of the student’s practical skills, an orientation towards scientific mastery of the problem not only for students in graduate school, but also for bachelors and masters, a change in the base of practical training, the need for applied skills and general skills (in documents they are usually , are formulated as the ability to make decisions in the professional field, information processing, analysis and systematization of material).

Art history can act not only as a specific area of ​​study and as a discipline, but also as a unique criterion of education, a standard, general knowledge that allows one to navigate the culture of the past and the present, make competent professional decisions, possess information, understand the vectors of social development, be socially adapted and a qualified specialist. The place of art in the system of modern humanitarian education can certainly become wider, involving students of other directions into the orbit of its influence; the “competence approach” does not exhaust the fullness of the requirements for a professionally competent specialist who can easily find application in the labor market. Teaching methods, especially interactive technologies, the principle of continuity, the nature and importance of independent work, the organization of practices and their place in educational process, familiarization with the principles of professional activity - place art history at the level of general disciplines, the mastery of which can contribute to the professional growth of any graduate. The history of art can exist in the system additional education.

Art criticism has a special role in the system of interdisciplinary approaches; it is a universal method of activating a student’s work, developing his aesthetic views, abilities and interests, creativity, and activity into independent activity. Mastering such disciplines, if the material is thoughtfully organized and successfully presented to students, undoubtedly contributes to the development of personality, the formation of a value system, artistic abilities, interest in research work and the desire to master new types of activities. The methodological problems of art history pedagogy remain the need for training in dialogue, mastering interactive programs, and learning how to directly work with a monument.

Art criticism as a science, as creativity, as a universal method of humanitarian knowledge expands the horizons of learning, promotes the personal growth of the student, increases his professionalism (and therefore competitiveness), and this applies directly to students in areas related to art, and representatives of creative specialties, and those who seek to improve their cultural level, and students of “non-artistic professions”, orientated

bathrooms on independence, activity, desire for scientific work. The concept of “style” remains debatable, which makes it possible for interactive learning within the subject, based on the phenomenon of the “student-centric” model: the course is built as a scheme, the lesson turns into creativity, the uniqueness of the student gives rise to the uniqueness of each course. Techniques for working with a work of art for future art historians and representatives of other specialties should differ somewhat, however, these principles can be implemented, for example, within the framework of the activities of a student scientific society: scientific work should become a continuation of the educational process, it is necessary to maintain the unity of scientific issues, of particular importance in educational process acquire Olympiads and competitions, student Scientific Conference becomes the result individual work, the student must have the opportunity to publish his scientific developments.

Thus, art history education in the 21st century. inevitably requires inclusion in a complex interdisciplinary structure, only in interaction with socio-humanitarian subjects, turning to related disciplines (and, possibly, to exact and natural sciences), it acquires modernity and complete understanding of the phenomenon. Interdisciplinary approaches make it possible to expand the methodological base, change the angle of view, expand the subject and object of study, and transform the principles of working with a work. In the pedagogical practice of art history, it is necessary to intensify the student’s individual work, use the competitive principle (Olympiads), and a system of continuity (from school, where it is necessary to maintain and expand the course “World Artistic Culture” to the university, from undergraduate to graduate and postgraduate studies). More attention should be paid to working with gifted schoolchildren and students. In teaching art history, it is possible to expand the methodological base of subjects, involve broader materials, introduce practical courses, new types of practices for students (and, possibly, specialties), a modular approach, introduction various forms second higher education, including additional (advanced training), development of distance programs, expansion of directions and profiles (including, possibly,

applied bachelor's degree). Unconditional consideration of the specific requirements for a professional in the field of art criticism involves, in addition to the introduction of a point-rating system, the introduction of project-based learning built on a system of creative tasks, taking into account the requirements of the Federal State Educational Standard (3+), which provide a certain freedom in the formation of training programs.

Notes

1 Harutyunyan Yu. I. Methodological problems of art history in the context of modern humanitarian education // Tr. SPbGUKI. 2013. T. 200. P. 176.

2 See more details: Ibid. pp. 174-185.

3 Leonardo da Vinci: book. about the painting of master Leonardo da Vinci, Florentine painter and sculptor / trans., author. entry Art. A. Guber. M.: Ogiz: Izogiz, 1934. P. 64.

4 See for more details: Harutyunyan Yu. I. Patriotic War 1812 in the programs of the Academy of Arts and problems of historical concept in painting // Vestn. SPbGUKI. 2013. No. 1 (14). pp. 90-98; Hers. Competitions, awards and prizes in the pedagogical practice of the Academy of Arts // Ibid. 2014. No. 1 (18). pp. 138-143.

5 See for more details: Her same. Quotes and analogies: some aspects of the study of influences in the art of the past and present // Vestn. SPbGUKI. 2011. No. 2. P. 127-134; Hers. Architectural graphics: problems of reception and interpretation // Scientific. tr.: question theories of culture. 2014. Vol. 31, Oct.-Dec. pp. 157-194.

6 See for more details: Her same. Report on the regional subject Olympiad of students of higher educational institutions of St. Petersburg in art history in 2013 // Collection of materials of regional subject Olympiads of students of higher educational institutions of St. Petersburg. St. Petersburg: Tekhnolit, 2013. pp. 57-70; Hers. Report on the regional subject Olympiad of students of higher educational institutions of St. Petersburg in art history in 2014 // Collection of materials of regional subject Olympiads of students of higher educational institutions of St. Petersburg. St. Petersburg: Tekhnolit, 2014. pp. 36-45; Hers. Report on the 2015 regional subject Olympiad for students of higher educational institutions of St. Petersburg in art history. // Collection of materials from regional subject Olympiads for students of higher educational institutions of St. Petersburg. St. Petersburg: Tekhnolit, 2015. pp. 37-43.

7 Benjamin V. A work of art in the era of its technical reproducibility: selected works. essay / preface, comp., trans. and note. S. A. Romashko; ed. Yu. A. Zdorovov. M.: Medium, 1996. P. 15-65.

8 See for more details: Harutyunyan Yu. I. Methodological features of style reception in the context of the phenomenon of architectural graphics // Tr. SPbGUKI. 2015. T. 209. P. 5-18.

The role and place of art in modern system education

The “New School” determines that the main mission of modern education is to provide conditions for self-determination and self-realization of the individual. Art plays an important role in the implementation of education. The specificity and variety of functions of art make it an integral part of the world cultural heritage, a necessary and indispensable part of the modern content of education.

Modern trends in the development of school art education require greater improvement in the professional activities and professional culture of art teachers.Objects of art occupy one of the main places in the education of a modern person. The beginning of this education begins in the womb. In school, subjects included in this area of ​​development awaken the ability to see, appreciate, create and, very importantly, understand beauty. The main task that a teacher should strive to solve in this area is the implementation of the principles of integrity, continuity, and imagery in the process of practicing art.

Modern lesson in art should teach schoolchildren to understand the nature of artistic culture, the specifics of its types. The teacher must be aware, first of all, of the essence of global changes in modern education and their reasons, because objects of art integrate many human needs - intellectual, emotional, moral. Develops spirituality, patriotism, and national pride in children.

Art is focused on the formation of the child’s spiritual world, on the development of his aesthetic perception of the world, creative self-expression, and the formation of interest in life through a passion for art.

The emphasis in teaching is on the commonality of all types of art, on developing the ability to emotionally evaluate phenomena and images through introducing schoolchildren to the world of plastic arts by developing practical skills in various types of fine arts, familiarizing them with the heritage of domestic and world art.

To date, several main areas of art teaching have emerged and are in practice. Each of them has its own goals, its own content, its own structure and is implemented through its own program.

One of the important concepts in education is the concepta holistic approach to training and education, based on the category of “artistic image”. Developed in the late 60s - early 70s. Head of the laboratory of the Research Institute of Artistic Education, Professor B.P. Yusov. Its main idea is “understanding, experiencing and feasible creation of an artistic image by students.” This concept considers the artistic image as the main method and as the result of the process of perceiving and creating a work of art. This concept was truly groundbreaking. For the first time in many years, art in school began to be understood as a subject that develops and educates artistically. The theory of B.P. Yusov served as the basis for the creation of subsequent concepts.

The next concept isintroduction to world artistic culture. Developed in the early 70s by a problem group of the Research Institute of Artistic Education and the Aesthetic Council of the Union of Artists of the USSR under the leadership of People's Artist of the RSFSR B. M. Nemensky. Its main idea is the formation of artistic culture as part of spiritual culture. It has absorbed a wealth of theoretical and practical experience from previous concepts. Including theories of artistic education developed in the 20-30s. (the theoretical heritage of L. P. Blonsky, A. V. Bakushinsky, S. Shatsky, P. I. Vygotsky, etc.), as well as the experience of art education in other countries. The artistic image here is a means of forming the artistic culture of students, and the child’s personality comes to the fore.

Main goalsprograms:

Formation in students of moral and aesthetic responsiveness to the beautiful and ugly in life and in art;

Formation of artistic and creative activity;

Mastering the figurative language of fine art through the formation of artistic knowledge, skills and abilities.

Contentsubject is defined here general topics for a certain year of study, or a certain quarter. For example:

I class. The art of seeing. You and the world around you.

II class. You and art.

III class. Art is all around us.

IV class. Every nation is an artist, etc.

Another important concept is the introduction to folk art as a special type of artistic creativity. The founder of this concept is Dr. ped. Sciences, Professor T. Ya. Shpikalova. Folk art is studied here in the interaction of all types of artistic creativity in the system of national and world culture. The artistic image in this concept is considered comprehensively in connection with nature, life, work, history, and the artistic national traditions of the people. This concept allows for a regional approach to teaching fine arts at school.

Main objectives of the program:

Formation of worldview and moral position through development historical memory, which will allow the student to feel that he belongs to centuries-old human experience, the experience of his ancestors;

Creating an artistic image of a thing through mastering the necessary skills, studying types of things from different schools of folk craftsmanship and developing a creatively active personality.

INcontentThe subject has the following sections:

Fundamentals of artistic representation;

Ornament in the art of the peoples of the world: construction and types;

Russian folk ornament: creative study in the process of depiction;

Artistic work based on familiarity with folk and decorative arts (the basics of artistic craft).

So, the concepts and programs for teaching art in school presented here are basic.

Great contribution to achieving the main goals of the main general education contributes to the study of art. The most used art program isG.P. Sergeeva, I.E. Kashekova, E.D. Kritskaya “Art. 8-9 grades." The creation of this program was caused by the relevance of integration school education into modern culture and is due to the need to introduce teenagers to modern information, sociocultural space. The content of the program ensures that schoolchildren understand the importance of art in the life of a person and society, the impact on his spiritual world, the formation of value and moral orientations, the development of aesthetic culture, and the development of the experience of an emotional and value-based attitude towards art. Thus, the basic competencies in the field of “Art” are emotional and aesthetic competencies. In the second generation standards, on the basis of which the program of the integrated course “Arts” was created, competence is understood as the general ability and willingness to use knowledge, skills and generalized methods of action learned during the learning process in real activities.

The goal of the program is to develop the experience of an emotional and value-based attitude towards art as a sociocultural form of exploration of the world, its impact on individuals and society.

Objectives of this course:

updating students’ experience with art;

cultural adaptation of schoolchildren in the modern information space filled with various cultural phenomena;

the formation of a holistic understanding of the role of art in the cultural and historical process of human development;

deepening artistic and cognitive interests and developing the intellectual and creative abilities of adolescents;

education of artistic taste;

acquisition of cultural-cognitive, communicative and socio-aesthetic competence;

formation of teachings and skills of artistic self-education.

The main content lines in the study of art: the role and place of art in the life of man and society, the artistic image and its specificity in various types of art; types and genres, styles and movements in art; history of art of different eras (primitive art, art Ancient world, Middle Ages, Renaissance, Enlightenment; general characteristics art of the 19th century); art of the peoples of Russia and the world artistic process; 20th century art; new types of art (cinema, television, computer art and its aesthetic features).

Students’ knowledge of the main types and genres of music, spatial (plastic), screen arts, their role in the cultural development of humanity and their significance for the life of an individual will help to navigate the main phenomena of domestic and foreign art, to recognize the most significant works; aesthetically evaluate the phenomena of the surrounding world, works of art and make judgments about them; analyze the content and figurative language of works of different genres and types of art; apply artistic and expressive means of various types of arts in their creativity.

The approximate artistic material recommended by the program assumes its variable use in the educational process, makes it possible to update the knowledge, skills, and methods of creative activity acquired by students at previous stages of training in subjects of the artistic and aesthetic cycle.

When selecting artistic material, the authors of the program relied on such criteria as its artistic value, educational significance, pedagogical expediency, relevance for modern schoolchildren, and the plurality of its interpretation by teachers and students.

The structuring of the artistic material of the program reflects the principle of concentricity, i.e. repeated reference to the most significant cultural phenomena and works of various types and genres of art in the subjects “Literature”, “Music”, “Fine Arts”. The implementation of this principle allows the formation of stable connections with the previous artistic and aesthetic experience of schoolchildren.

Results of mastering the “Art” course.

perceive the phenomena of artistic culture of different peoples of the world, realize the place of domestic art in it;

understand and interpret artistic images, navigate the system moral values presented in works of art, draw conclusions and conclusions;

describe the phenomena of musical and artistic culture, using appropriate terminology;

structure the studied material and information obtained from other sources; apply skills and abilities in any type of artistic activity; solve creative problems.

navigate the cultural diversity of the surrounding reality, observe various phenomena of life and art in educational and extracurricular activities, distinguish between true and false values;

organize your creative activity, determine its goals and objectives, choose and put into practice methods of achieving it;

think in images, make comparisons and generalizations, highlight individual properties and qualities of a holistic phenomenon;

perceive aesthetic values, express an opinion on the merits of works of high and popular art, see associative connections and realize their role in creative and performing activities.

Graduates will have the opportunity to learn

8th grade

9th grade

represent the place and role of art in the development of world culture, in human life and society;

observe (perceive) objects and phenomena of art, perceive the meaning (concept) of an artistic image, a work of art;

master the features of the language different types art, artistic means of expression, the specifics of the artistic image in various types of art;

distinguish between the studied types and genres of art;

describe artistic phenomena using special terminology;

classify the studied objects and cultural phenomena;

structure the studied material and information obtained from various sources.

represent a system of universal human values;

realize the value of the art of different peoples of the world and the place of domestic art;

respect the culture of another people, master the spiritual and moral potential accumulated in works of art, show an emotional and value-based attitude towards art and life, navigate the system of moral norms and values ​​presented in works of art;

to form communicative, informational and social-aesthetic competence, including mastering the culture of oral and writing;

use methods of aesthetic communication, master interactive forms of communication with works of art;

develop an individual artistic taste, intellectual and emotional sphere;

perceive and analyze aesthetic values, express an opinion on the merits of works of high and popular art, see associative connections and realize their role in creative activity;

show a strong interest in art, the artistic traditions of one’s people and the achievements of world culture, and expand one’s aesthetic horizons;

understand the conventions of the language of various types of art, create conventional images and symbols;

determine the dependence of the artistic form on the purpose of the creative concept;

to realize one’s creative potential, to carry out self-determination and self-realization of the individual on aesthetic (artistic and figurative) material.

List of used literature

Bakhtin M.M. On the methodology of the humanities // Bakhtin M.M. Aesthetics of verbal creativity. – M., 1979;

Vygotsky L.S. Psychology of art. – M.: Art, 1968;

Kashekova I.E. A single integration space of the school and ways to create it // Art at school. 2001, No. 4;

Kashekova I.E. Kritskaya E.D., Sergeeva G.P.. Art. 8-9 grades. Textbook for promises educational institutions. – M.: Education, 2009;

Kashekova I.E. Creating an integrated educational space for the school through art. Monograph. – M.: Publishing House of the Russian Academy of Education, 2006;

Kashekova I.E., Temirov T. IN. The concept of art education as the foundation of the system of aesthetic development of students at school: Project. - M, 1990;

Sokolnikova N. M. Fine arts and methods of teaching them in primary school. - M., 2002. - P. 312

Ministry of Culture Russian Federation

Federal State Educational Institution of Higher Education

Tyumen state institute culture

Faculty of Music, Theater and Choreography

Department of Sports and Pop Dance

Course work

Introduction to Art Education Pedagogy

Art education as a phenomenon of artistic culture

4th year student at SET,

Scientific supervisor: Ph.D.

Associate Professor V.S. Lebedev

Tyumen, 2016

Introduction

Chapter 1 Methodological basis development of art education

1 The concept of art education

1.2 Goals and objectives of art education

4 Effective ways to implement art education

Chapter 2 The role of the formation of artistic culture

1 The concept of artistic culture

2 The structure of artistic culture

Conclusion

Bibliography

Introduction

Relevance. The work examines one of the important problems in the history of education: the formation and development of art education in Russia, which is determined by contradictory trends.

The coming era is the era of a developed, spiritually oriented, creative, individual person. The processes of social development are addressed to the individual, to individuality located in the holistic educational process. At the same time, integrity in education is determined by the high quality of formation social person, revealing his natural essence, forming him in the fullness of the possibilities given to him by nature. The axiom of the new pedagogy states that in the process of education, including self-education, a whole, harmonious person is formed, that understanding of wholeness and harmony, which constitutes the unity of man and the world and gives rise to a “spiritual attitude towards all phenomena of the world.”

The art education system has two leading components: art education, as part of general education, and professional art education. Questions about the role of art education are reflected in numerous works of philosophers, sociologists, psychologists, art historians, teacher-scientists and practitioners, creative workers, artists of different historical eras (Plato, T.G. Grushevitskaya, L.S. Vygotsky, G.M. Agibalova, L.N. Moon, N.K. Shabanova, A.I. Kravchenko, etc.).

Many generations of teachers, researchers, artists, noting the socio-moral, educational, educational, aesthetic functions of art, returned to the idea of ​​​​the need for artistic education of the entire people. One of the conditions for successful human activity is the artistic development of the individual, which, on the one hand, affects the spiritual culture of a person, on the other, the realization of his creative inclinations. The artistic development of the individual is a way of transmitting universal human values ​​from generation to generation, the perception and reproduction of which leads to moral and creative self-development. Art education is aimed at creating a culture of perception of the world around us, developing the individual’s abilities to transform himself and reality.

Education and culture are directly dependent on each other. If education is the culture of the individual, then art education is the artistic culture of the individual. Art education is a long and incomplete process. It always has an intermediate result, but we can say with confidence that the growth of an individual’s artistic culture determines the growth of the cultural potential of society.

The object of research is the process of art education and artistic culture.

The main goals of art education at the present stage can be considered to be increasing the overall level of importance of culture and art in education, as well as preserving and developing the unique system of art education in the field of culture and art that has developed in Russia.

Art education is designed to ensure the implementation of such tasks as:

formation and development of aesthetic needs and tastes of all social and age groups of the population,

training creative personnel for professional activities in the field of art and culture, as well as teaching staff for the art education system;

realization of the moral potential of art as a means of formation and development of ethical principles and ideals of the individual and society;

widespread introduction of art education as a factor of intellectual improvement, promoting the development of creative potential children and youth;

involvement of all groups of the population in active creative activities, which involve the development of basic artistic and practical skills; identifying artistically gifted children and youth, providing appropriate conditions for their education and creative development.

Artistic culture plays a specific role in the spiritual life of a person and society. It is thanks to art education and artistic culture that it is possible to perceive the world in its integrity, in the inextricable unity of personal experience, the existence of culture and the experience of all humanity.

The work consists of: introduction, chapter 1, chapter 2, conclusion, bibliography.

Chapter 1. Methodological foundations for the development of art education

1Concept of Art Education

Art education is the process of mastering and appropriating by a person the artistic culture of his people and humanity, one of the most important ways of developing and forming an integral personality, his spirituality, creative individuality, intellectual and emotional wealth.

A necessary component of aesthetic, pedagogical and psychological aspects is the history of art education, which studies the dynamics of the development of this phenomenon in different time frames.

For studying and understanding the historical and cultural context of the development of art education, the works of N.N. are important. Fomina, B.L. Yavorsky, S.V. Anchukova, R.V. Vardanyan, K.N. Machalov, N.K. Shabanova, A.V. Bakushinsky, A.P. Sadokhin et al.

Essential for the study of the processes of art education are works devoted to general issues of artistic culture, its content, structure, social functions, individual levels and types.

The works of L.S. are devoted to this problem. Vygotsky, A.V. Bakushinsky, Azarov, L.N. Dorogovoy.

The current state of the art education system in Russia concerns the research of N.Kh. Veselya, G.A. Gippius and other authors.

The Concept of Art Education in the Russian Federation (hereinafter referred to as the Concept) is based on the fundamental state document - the “National Doctrine of Education in the Russian Federation”, which establishes the priority of education in state policy, determines the strategy and directions for the development of the education system in Russia for the period until 2025.

The concept reflects the will of the state to implement the constitutional rights and freedoms of man and citizen of Russia in the field of culture and art:

the right to participate in cultural life and use cultural institutions, access to cultural values;

freedom of literary and artistic creativity, teaching, protection of intellectual property;

the duty to take care of the preservation of historical and cultural heritage, to protect historical and cultural monuments.

The concept defines strategic directions public policy in this area, indicates the prospects for the development of art education in the unity of goals, objectives and ways to achieve them.

The implementation of the Concept will become the basis for spiritual revival in the field of education, culture and art, the development of human individuality, including the socio-cultural and creative sides of the individual.

The practical implementation of this super task should be based on the historically established system of art education in Russia.

The art education system includes aesthetic education, general art education and professional art education. The implementation of art education programs is carried out in all types and types of educational institutions: kindergartens, secondary schools, secondary vocational, higher and postgraduate institutions vocational education, in all institutions of additional education, including children's art schools. Cultural and art institutions play an important role in art education.

1.2 Goals and objectives of art education

The goals of art education at the present stage are:

ensuring the implementation of the National Doctrine of Education in the Russian Federation;

increasing the overall level of importance of culture and art in general education;

preservation and development of the unique system of art education institutions in the field of culture and art that has developed in Russia.

Based on them, art education is designed to ensure the implementation of the following tasks:

creating an aesthetically developed and interested audience of listeners and spectators, activating the artistic life of society;

preservation and transfer to new generations of the traditions of domestic professional education in the field of art;

introducing Russian citizens to the values ​​of domestic and foreign artistic culture, the best examples of folk art, classical and modern art;

identifying artistically gifted children and youth, providing appropriate conditions for their education and creative development.

the formation of cultural and historical competence, which implies the study of the theory and history of art of different eras and peoples;

formation of artistic and practical competence, implying mastery of the means artistic expression various types of arts;

formation of artistic taste and evaluation criteria in the context of spiritual, moral and aesthetic ideals.

The implementation of the content of art education occurs at three levels:

developing an attitude towards culture as the most important condition free and comprehensive development of one’s personality;

formation of the need for full artistic communication with works of various types of art based on their adequate aesthetic assessment;

formation of skills of independent artistic activity, perception of this activity as an integral part of one’s life.

For each stage of art education, some of its aspects act as dominant, leading, while others act as additional and accompanying, and age-related characteristics play an important role here. IN preschool age the main role is played by the formation of an aesthetic attitude towards the surrounding world, which is inscribed in his own life activity. In elementary school, the basic foundations are formed, the child’s primary knowledge, artistic and practical skills are acquired. In the main high school teenagers master the language of various types of art, which gives them the opportunity to independently comprehend works of art, and also creates the prerequisites for their own artistic activity.

In secondary specialized and higher educational institutions, young people come to a full-fledged socio-cultural self-identification, realizing that they belong to a certain cultural layer with its special artistic and aesthetic ideas and tastes, on the basis of which certain priorities are formed in their own artistic creativity.

the beginning of education from an early age, continuity and continuity of various levels of art education;

reliance on national and cultural characteristics when compiling curricula in subjects of art;

an integrated approach to teaching artistic disciplines based on the interaction of various types of arts;

distribution of variable educational programs different levels, adapted to the abilities and capabilities of each student;

introduction of personality-oriented methods of artistic and educational activities, individualized approaches to especially gifted individuals and other categories of students.

artistic aesthetic culture education

1.4 Effective ways to implement art education

The implementation of this Concept presupposes a complex of organizational, managerial, socio-psychological, material, technical and personnel conditions, the main of which are:

formation at the state level of an attitude towards art education as a particularly significant sphere of human activity, vital for the development of Russian society;

interaction between cultural and educational authorities at the federal and regional levels on the basis of interdepartmental coordination plans and programs;

preservation and development of the existing network of educational institutions of culture and art;

determination of the legal status and regulatory framework for the activities of educational institutions of culture and art in common system Russian education;

continuous updating of software and methodological support, content, forms and methods of art education, taking into account the best domestic experience and world achievements;

active participation of the media in artistic and educational activities;

publication of new textbooks, teaching aids, monographs on art, history and theory of artistic culture;

improving the activities of cultural and art institutions in the development of mass public forms of art education and artistic and creative activities for various groups of the population;

increasing the role of modern information means and technologies in the artistic and educational process.

This Concept is interpreted as an integral system in which the goals and objectives of art education, and the ways of their implementation represent a complex of interrelated provisions and principles.

Defining priorities in the field of art education in Russia, the Concept is a document for developing a cultural policy strategy Russian state in this area. Its implementation will serve the full growth of the creative potential of all citizens of the country and the prosperity of national culture.

Chapter 2. Role in the formation of artistic culture

1 Concept Artistic culture

Artistic culture is one of the components in the system of functioning of the “second nature” of man. Perhaps this is one of the most stable humanitarian components of culture in general, in which the ideas of each specific type of culture about the spiritual values ​​of a given cultural era are expressed in a special sign-symbolic form. It is interesting that in the everyday, widespread idea of ​​what culture is, the prevailing idea is that culture is what is associated with aesthetic activity in general. It is in the sphere of artistic culture that a holistic vision of all the features, complexities and patterns of cultural existence is created, expressed in a special form of languages ​​of specific types of arts

One of the most important components of the spiritual culture of humanity is artistic culture, which, together with cognitive, religious, moral, economic, political culture is designed to shape the inner world of a person, to promote the development of a person as a creator of cultural values. Artistic culture also represents a certain type of human activity, a specific way of realizing human creative potential. Artistic culture can be understood both essentially and functionally in the context of the entire spiritual culture.

Artistic culture is the culture of art production, the culture of its dissemination, propaganda, the culture of its perception, understanding, the culture of enjoying art.

Artistic culture masters the sphere of artistic values, which are directly related to the aesthetic values ​​represented in culture. The concept of the aesthetic is a broader concept than the artistic, since the aesthetic, being included in the system of cultural values, does not necessarily have a man-made nature.

The basis of aesthetic activity is the idea of ​​beauty as a central universal aesthetic category. In addition, it presents the sublime, comic, tragic and other aesthetic categories. Aesthetic activity is realized in incredibly diverse spheres of human activity:

Practical activities

Artistic and practical activities (carnivals, holidays, etc.)

creative activity.

Artistic culture is a complex systemic formation, in the existence of which two important aspects can be distinguished:

Firstly, this is something that is connected with the organizational side of the functioning of artistic culture. In any case, perhaps historical type there are special cultures social institutions who are responsible for ensuring the conditions for the functioning of artistic culture, for the creation, dissemination and perception of aesthetic values. This is, first of all, a system of educational institutions, training in which allows you to join artistic traditions, which ensures a certain continuity in relation to aesthetic values; publishing institutions, organizations engaged in concert and exhibition activities, etc.

The invention of cinema, radio, television, and later the Internet system made it possible to talk about truly mass communication.

It was thanks to these inventions that an almost unlimited opportunity arose to demand any cultural information and become familiar with the artistic values ​​and achievements of human culture. Of course, it is necessary to remember those problems that appeared simultaneously with the formation of the body of mass culture. However, I would like to note the significant positive aspects of the functioning of mass culture. For example, this is the possibility of forming humanistic ideas by turning mass culture to universal human values, and, as a consequence, the possibility of intracultural and intercultural dialogue.

Secondly, this is that part of artistic culture that is directly related to creative activity and its results. These are arts with their special language inherent in each type separately, the creative process of their creation. It is thanks to artistic culture that it is possible to perceive the world in its integrity, in the inextricable unity of personal experience, the existence of culture and the experience of all humanity.

2 The structure of artistic culture

There are still many approaches to determining the essence, structure and function of culture. This is explained, first of all, by the complexity of the very composition of culture, the heterogeneity of cultural phenomena, which gives rise to different approaches to its study. At the same time, an integrative concept is now being developed, based on the application of a systems approach to the analysis of culture.

Its essence lies in the fact that the essence of culture is revealed as a result of its consideration in an integral system of being, one of the forms of which is culture. The initial form of existence is nature, and at a certain stage of development of nature a new, different from natural, form of existence is born - human society. In society, being moves from a natural, natural, spontaneous form of existence to a different type of functioning and development, which is manifested not by biological imperatives of behavior hereditarily transmitted from generation to generation, but by principles of activity developed by people during their lifetime. Therefore, the third form of being is man himself, who synthesizes natural and social laws in his existence and behavior, man as the embodied dialectical unity of nature and society. But by thus connecting nature and society, man becomes a central link in the chain of basic forms of existence.

Culture appears before us as an active and historical unfolding process, covering:

a) the quality of man himself as a subject of activity - the quality of the supernatural, i.e. those that, based on the capabilities given to him by nature, are formed during the formation of humanity and are recreated each time again in the biography of each individual (according to the law, “ontogenesis” repeats “phylogeny”;

b) methods of human activity that are not innate to him - neither the species nor the individual - but invented by him, improved and passed on from generation to generation thanks to training, education and upbringing; in philosophical language this activity is called “objectification of the essential forces of man”;

c) a variety of objects - material, spiritual, artistic - in which the processes of activity are objectified, forming, so to speak, a “second nature” created from the material of the “first”, true nature, in order to satisfy over-natural, specifically human needs and serve a transmitter of the experience accumulated by humanity from generation to generation; This objectivity of culture turns out to be the other being of man, because it is separated from him and acquires other, different from human, forms of existence - the forms of tools, scientific treatises, ideological concepts, works of art;

d) again a person, whose second role in culture is expressed in the fact that thanks to disobjectification he is enriched, develops, masters the culture and thereby becomes its creation;

e) the force that connects man to man in culture is the communication of people, and then their communication with natural phenomena, things, works of art.

Culture has three modalities:

human, in which it appears as the cultural potential of a person (both humanity and individuals), acting as the creator of culture and its creations;

procedural-activity, in which culture acts as a way of human activity - in the activity of disobjectification and in the activity of communication between people participating in both processes;

subject, in which culture embraces the diversity of material, spiritual and artistic creations that form second nature - man-made to the world artificial objects: world of things , world of ideas And world of images .

In this three-dimensionality, culture really lives, functions and develops as an integral system.

Structural changes in the history of culture are expressed, first of all, in the fact that the ratio of its main layers - material, spiritual and artistic - changes (but at the same time the main functions of each of them are preserved). Studying the history of artistic culture is of interest not only for a deeper understanding of the history of all arts, but also how main source studying the history of culture, the macroworld of which is reflected in the microworld of art images. Theoretical and historical study artistic culture helps to understand the place that art occupies in culture taken as a whole.

Conclusion

this work allowed us to draw the following conclusions:

The most important task of art education is the development of the individual through the formation of his complex inner world. Receiving in progress scientific knowledge about the objective world around and the development of aesthetic tastes, creative perception of this objective world.

Expanded art education, combining in a syncretic unity the richness of synthesis and interaction of arts and the possibilities of pedagogy, creates an optimal holistic educational and developmental complex capable of integrating the spiritual potential and cultural traditions of art, creating an artistic and aesthetic environment for the formation of an active creative personality.

Artistic culture and art education are the main means of aesthetic education. The study showed that cognitive interest in art and creativity in Russia is quite high, and the presence of interest is the first condition for successful education.

Art education and spiritual development is a complex, multifaceted process, and artistic culture plays a significant role in it.

Artistic culture not only develops the level of cognition, but also shapes the mental world of the individual; they also help to include subjective aesthetic values ​​in the emerging socially significant values, and this is the main task of personality-oriented education.

Everything that is created by professionals and amateurs is included in the concept of artistic culture. And what is created by masters of their craft, professionals, and is worthy of being preserved for centuries as having the highest value for society, constitutes art and creativity.

Based on the above, it should be noted:

“Culture is an essential component of a comprehensive education, which ensures the complete development of the individual. The right to arts education is therefore a universal human right, the right of all students, including those who often lack access to education - immigrants, members of cultural minorities and people with disabilities."

Bibliography

1. Azarov A.Yu. Problems and aesthetics of modern art education. Moscow, Moscow Friend Publishing House 2008

Agibalova G.M. The role of art education in the formation of spiritual and knowledge competencies // Educational technologies of the XXI century / Ed. S.I. Gudilina, K.M. Tikhomirova, D.T. Rudakova. M.: Publishing house of the Institute of content and teaching methods Russian Academy Education, 2006. pp. 223-225.

3. Bakushinsky, A.V. Artistic creativity and education. M., 1925.

Vardanyan Rudolf Vardanovich. World artistic culture: Architecture / R.V. Vardanyan.-M.: Vlados, 2004.-400 pp.: ill.

Vygotsky L.S. Imagination and creativity in childhood. St. Petersburg, 1997. P. 96.

Art and education. Journal of methodology, theory and practice of art education and aesthetic education. No. 4, 1998

Kravchenko A.I. Culturology: Tutorial for universities. - 3rd ed. M.: Academic Project, 2002. - 496 p.

The concept of art education as the foundation of the system of aesthetic development of students at school: Project. M., 1990

Moon L.N. The improvisational nature of the synthesis of arts // Pedagogy of art (electronic Science Magazine: art-education.ru/AF-magazine), 2008, No. 3. - 0.5 p.l.

Moon L.N. Synthesis of arts in the history of artistic culture // Aesthetic education, 2001, No. 3. - P. 8-12 - 0.5 pp.

Machalov K.N. “Rus as the main custodian of the education of artistic skills”, publishing house “Nauka”, Moscow, 2005

SKETCH OF THE HISTORY OF REFORM OF “ACADEMIC” ARTS EDUCATION IN RUSSIA

“Academic School” is the oldest of the Russian systems of professional teaching of art. Over two and a half centuries of almost continuous development, the Russian “academic school” has evolutionarily changed its external forms, preserving the fundamental foundations of “academicism” not so much as a stylistic direction, but as one of the fundamental principles of the European system of art education. Russia borrowed the “academic school” from outside, and since it was not a natural outgrowth of Russian life, it took considerable effort and more than half a century to adapt foreign traditions before they became an organic part of Russian culture. The emergence in Europe by the middle of the 16th century of the “academic” system of teaching the fine arts should be considered as a reaction to the impoverishment of the possibilities of craft and guild training. The sign of the “academic school” was the desire to develop, ideally, unified educational programs that teach by their very essence, and are sufficiently autonomous in relation to the advantages or disadvantages of the teachers who use them. Naturally, pedagogy in the field of arts is by its nature doomed to be “authorial” and its results largely depend on the creative self-sufficiency of the teacher. A real “academic school” includes an “author’s” principle. The fundamental principles of academicism are designed for development over a long historical perspective, in contrast to the declared bright “author’s” schools, which are usually suppressed already in the second generation of their adherents.

Academy of Arts - as an idea generated by the era Italian Renaissance and inherited from her a dispute - what should art reflect or imitate? Nature or classical, selected and recognized as significant examples. This questioning debate is directly related to the methodologies of teaching art, and the difference in answers gives particularity to certain areas of the “academic” school. It is these differences that lie at the basis of two Russian academic traditions - “St. Petersburg” and “Moscow”, from the fruitful cooperation and competition of which the diversity of Russian visual culture has been born over the past century and a half.

The generic features of the “academic school” include reverence for traditions. In this way it is akin to fundamental science. History shows that Russia is predisposed to the development of fundamental trends in science and art, with some damage to applied practicality. And this feature, apparently, should be taken into account as the mentality of Russian civilization, as with our contribution to the global harmony of cultures. The process of formation and accumulation of tradition in an art school is internally contradictory. On the one hand, the school communicates with the past, separating its experience, transmits its advantages, but on the other hand, it must adequately relate to reality, unravel development trends, and predict its future relevance to the times. As a result, an art school must provide both stability and development. Within a single natural school, different trends may manifest themselves, ranging from fruitful conservatism and traditionalism as the basis for preserving professional culture, to “revolutionary” reactions to trends current state fine arts. The natural properties of the “academic school” include its “slowness” in relation to immediacy. In this sense, the “academic school” is fruitfully conservative in relation to trends coming from outside to synchronize learning with the rapidity of changes in trends and trends in art. The history of the Russian “academic school” officially dates back to 1757. The Academy, opened at Moscow University and a year later transferred to St. Petersburg, began to be created one hundred and fifty to one hundred years later than the academies in Italy, France, Germany and almost simultaneously with the academies in London and Madrid. In many ways, the French Academy served as a model for St. Petersburg. Naturally, the Academy of Arts in Russia had predecessors in the matter of state art education - the Armory Chamber, the St. Petersburg Armory Chancellery, the Chancellery of Buildings, and the art “department” of the Academy of Sciences.

But inviting third-rate Western artist-teachers and a small number of retired Russian students to Russia could not quickly change the situation on a national scale. Actually, even before the third quarter of the 18th century, the full development of the icon tradition continued, and parsuna existed as an intermediate pictorial form.
Actually, the true structuring of the Academy of Arts begins not with the decree on its creation, but with the introduction of the Charter of 1764 (“Privilege and Charter of the Imperial Academy of the three most noble arts, painting, sculpture and architecture, with an educational school attached to it”). Structurally, the academy consists of an Educational School, general and special classes. Children “no older” than five or six years old, of the Greek religion, of any rank except serfs were accepted into the Educational School. The educational school was a kind of secondary school with an artistic twist. The time to complete the academic course was determined at fifteen years and was divided into five ages, of which the first three ages constituted the Educational School, and the last two constituted the Academy itself. The disadvantage of the created system should be considered early age pupils doomed to an unconscious choice of profession.

Researchers of the history of the Academy note that a new period of its formation is associated with the opening in 1798 of the Drawing School for free people of various ranks. Actually, from this period preliminary conscious preparation began, which gave birth to a generation of artists who went down in the history of Russian art. Ideas that inspired the creators of the Academy I.I. Shuvalov and I.I. Betsky, assigned a significant role to “education” (as the sign above the four portals of the courtyard of the Academy of Arts is embossed - “Painting”, “Sculpture”, “Architecture”, “Education”), which implied the development of a large cycle of “sciences”.

The beginning of the reign of Alexander I was marked by broad plans for state restructuring, including the cultural management system. The Academy proposed to abandon the fixed period of study, making the time of completion of the program dependent on the success achieved in mastering strictly nominated tasks. There has been a tendency to transfer the entire general educational load to the Educational School, freeing up older ages for some specialized studies.
The Academy united training not only in the field of “the three most noble arts” - painting, sculpture and architecture, but also inherited from its predecessors the education of artists and craftsmen in other areas, primarily in the arts and crafts direction. Gradually, the Academy specializes, focuses on the “classical” arts, and abandons non-core training.

An important component of the “academic school” was the institution of “retirement”, if translated into modern terminology - the system of “postgraduate education”. Since the end of the 18th century, retirement has practically become a direct continuation of academic studies for the most gifted students (sometimes up to one third of the total graduation). Pension contributed to further improvement, trained future teachers, helped them find a job, and sometimes even receive an academic title. Within a three-year period, a pensioner could complete the program for the Big Gold Medal and, in the case of a high score, received the right to travel abroad.
The reform of 1830 was intended to transform the Academy of Arts into a purely special educational institution.

The anachronism of a narrowly specialized school and the denial of previous experience in finding a balance between general humanitarian and special educational cycles were overcome by the reform of 1859. For 19 years, when the Academy was a narrowly professional school, well-trained painters, sculptors and architects emerged from its walls. All these years there have been debates between leading artists and teachers about the meaning of the humanities course. For example, I.K. Aivazovsky had an extremely negative attitude towards the course of general education disciplines within the Academy’s walls and stood for a narrowly vocational school. And he was not alone in his opinion. And yet, the majority of Council members were inclined to restore the teaching of developing general education disciplines. The reform of 1859 not only re-introduced the general education cycle, but restored the primary, originally laid down highest idea of ​​the Academy, which affirmed the primacy of training artists capable of free creativity over absolutely compulsory craft training, in the highest sense of this concept, training. This dispute only seems simple and past. In fact, every new reorganization of the “academic” school (for example, the modern development of state educational standards) necessarily resolves the issue of professional relationship between the cycles of general humanities and special disciplines.

The drama of the situation lay in the fact that it was from the walls of the Academy that artists emerged who questioned the merits of the system that formed them. Externally, the conflict took shape in the confrontation between the Academy and the Association of Traveling Exhibitions. At the level of ideas, the “Itinerants” and their ideologists asserted the primacy of socially oriented genre painting. . It is quite difficult for an outside observer to understand the nature of the overly ideological dispute between the “old” Academy and the “Wanderers”. Its severity is associated both with the birth of a genuine intelligentsia, which initially did not accept any form of state structure, and with the change of generations in art.

In 1833, for the “education of public taste,” the Moscow Art Society was created, which prepared the opening of the Moscow Art School in 1843.
Classes at the School were limited to artistic disciplines, anatomy and perspective. Only in the last fourth grade was work from life allowed. There was no special composition course. It was assumed that average professional, largely craft, training would be given, and the development of an artist as a creative personality remained the prerogative of the Academy. In addition to general training, the course of study included specialization in portraiture, landscape painting, and later, historical sculpture.
Real teaching practice at the Moscow School differed from the approved programs and was based on work from life. The nature of the training was largely determined by the personal creative and pedagogical experience of the artists invited to teach. The formation of the “Moscow school” is characterized by heated methodological controversy. The “Moscow School” is characterized by a love for small genres in art, with a cult of nature and an emphasis on experience, albeit with some damage to academic, St. Petersburg rationality, solidity of drawing and compositional precision. The emerging rivalry with the Academy, which considered itself part of a single European school, made it possible by the end of the 19th century to speak of the Moscow School of Painting, Sculpture and Architecture as a school embodying the trends of original, national development.

But there are changes in St. Petersburg too. The “Peredvizhniki” came to the Academy in the aura of the winners of inertia and with a denial of what had accumulated before them methodological experience and methodological ideas. The face of reform, her distinctive feature began the organization of personal workshops led by artists known for their creativity. According to the conviction of the new teachers (primarily I.E. Repin), who felt themselves to be leaders of modern art, and due to this circumstance, they overly absolutized personal experience, the main attention should have been paid to creative workshops with very different methodological settings. Since that time, the corporate desire for an agreed definition of norms and criteria in artistic pedagogy has been violated. On the other hand, the opportunity arose for a variety of pedagogical experiments.
What and how to teach was actively discussed. Once again, it should be emphasized that the academic principle of a unified educational normativity was questioned. The leading professors brought a lot of new and unexpected things into the teaching process. But after a short time it turned out that most of the innovations were overly proprietary. Gradually, teaching began to return to classical traditions. Despite all the routineness of the “old” Academy, few people notice that in many ways the new, liberalized system has dramatically changed the final quality of education. The Academy began to produce artists of equal caliber.

By 1910, the crisis of the “Itinerant” Academy became obvious. For example, A. Benoit demanded the expulsion of the “Itinerants” from the Academy and the restoration of canonical education. The St. Petersburg school, especially after the departure in 1907 of the leader of the reformers, I.E. Repin, gradually began to return to the development of agreed methodological standards.
Already in the tenth years of the twentieth century in artistic educational establishments a generation came that rejected school as such.

The changes that took place at the Academy of Arts differed in appearance from the changes at the Moscow School of Painting, Sculpture and Architecture. By the end of the 19th century, the authority of the Moscow School became comparable to the Academy of Arts. The rivalry between the two capitals created a voltaic tension in Russian culture. Fruitful cooperation-rivalry is continued by their contemporary heirs of the two schools - the “Repinsky” and “Surikovsky” academic institutes.