Essay on the topic: “Professional portrait of a teacher. Essay on the topic “Portrait of a modern teacher List of used literature

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"

The teacher of the 21st century is a creator in the most diverse areas of pedagogical activity: an experienced technologist, an organizer, always striving to sum up his work, 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 self-giving that is inherent in people of our specialty will sooner or later be deservedly appreciated by the society of the future.

"A teacher, regardless of gender, should dress strictly, modestly, cleanly and neatly, avoid bright, flashy colors. By his appearance, he will be able to set an example of good taste for his students. Of course, shoes should be carefully cleaned, hair should be neat, and manicure should be classic However, clothes are only part of the appearance, the manner of 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 manuals are rapidly changing. The use of computer technology is becoming commonplace in the activities of a teacher. Of course, a computer helps to get 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 students, which is not yet there, but will definitely manifest itself later, and also to teach him how to learn so that the student can and wants to independently acquire knowledge. And, of course, there should be an assistant teacher, partner teacher and employee nearby.

A teacher who has pleasant manners, and this includes facial expressions, gestures, posture, and communication skills, wins people over. All the manners of the teacher should have one common feature - this is the observance of pedagogical tact, which includes increased sensitivity to others and the ability to find such 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 it is necessary that our heart, the main pedagogical tool of the teacher, be able to see. A tool for knowing oneself, life, the soul of a child.

Today, the 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 the student at the problem that worries him - this is the task of the teacher. Only a teacher who is well versed in the methodology can properly organize pedagogical activities and prepare for the lesson. Now there is a lot of talk about innovations in the educational process. The teachers of our school do not have a single idea of ​​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. So far, not every teacher has identified for himself the priority tasks of teaching.

Teaching is a calling, teaching is a ministry, not a job.

A professional teacher does not go to work, does not serve teaching 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 based on being ahead of the curve, on a constant creative search in all types of interaction with students.

The teacher must keep up with the times: use innovations in his work, various methods, must be fluent in the material taught. But most importantly, he must be a PERSON WITH A CAPITAL LETTER. It is necessary to leave the negative beyond the threshold of the school, and to carry and sow the good, reasonable, eternal to the children, no matter how hard it is on the soul. It would not hurt to recall folk wisdom in the form of proverbs and sayings: "As it comes around, it will respond." It depends on us what will respond to us in the near future. We are afraid to think about the future, so maybe we will think about who we are educating and what we want to receive.

Whatever the public opinion, one thing is clear, the country needs new teaching staff and new specialists, like former school graduates, able to realize themselves in the future. As for the personality of a teacher, I think the essence of a real teacher lies in the very word "TEACHER":
U is unique, smart, successful, versatile, able to professionally present the material.
H - honest, humane, sensitive, with a sense of humor.

And - sincere, individuality.

T - tactful, tolerant, patient.

E - natural, like-minded.

L - loving children, loving his work.
b - and very soft as a soft sign and the word itself!

… and this truth will be timeless.

Literature

1. Bordovskaya I. V., Rean A. A. Pedagogy. Textbook for high school. Moscow: Peter, 2005.

2. Introduction to pedagogical activity. Proc. allowance / ed. A. S. Robotova, T. V. Leontyeva, 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.: Akakdemia, 2008.

5. Frolovskaya MN Formation of a professional image of the teacher's 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.

This genre includes works of fine art that capture the appearance of a particular person (or group of people). Each portrait conveys individual features inherent only to the person being portrayed (or, as the artists say, models).

The very name of this genre comes from an old French expression meaning "to reproduce something the hell with it." However, external similarity 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 idea of ​​the painter is not limited to the transfer of external similarity. Herzen's face, as if snatched out of the semi-darkness by a directed sheaf of light, reflected his thoughts, the unbending 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 personality, embodied the experience of her whole life, full of struggles and anxieties. 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 reflect 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 registrar of the external and internal features of the person being portrayed: the artist’s personal attitude to the model, his own worldview, his creative manner leave a visible imprint on the work. The art of portraiture dates back several millennia.

Already in ancient Egypt, sculptors, without delving into the inner world of man, created a fairly accurate likeness of his external appearance. Idealized, as if attached to the beautiful world of gods and mythical heroes, the images of poets, philosophers, public figures were common in the plastic art of Ancient Greece.

Ancient Roman sculptural portraits were distinguished by striking truthfulness and at the same time by a rigid certainty of psychological characteristics. An outstanding phenomenon of its kind was the picturesque portraits of ritual and magical purposes, which were created in Egypt in the 1st century BC. BC e. - IV century. n. e. (At 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 flourished during the Renaissance, when the heroic, active human personality was recognized as the highest principle, the main value of the universe.

Many of his contemporaries - poets, scientists, rulers - were captured by the great Italian artist Titian. Intellectual power, proud consciousness of inner independence, spiritual harmony endowed with his self-portrait (1560s, Prado, Madrid). Strength and hidden energy, seriousness and masculinity are emphasized in the portrait of Charles de Morette (c. 1536, Art Gallery, Dresden), painted by the painter X. Holbein Junior. 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 the depicted.

With his "Portrait of an Old Woman" (1654, Pushkin Museum), the brilliant Dutch portrait painter Rembrandt introduces us into the inner world of a simple, unfamous person and reveals in him the greatest riches of kindness and humanity. Rembrandt was also able to convey a wide range of different feelings, temperaments, human individualities in large group portraits, such as The Elders of the Cloth Shop (or Sindics, 1662, Rijksmuseum, Amsterdam).

The best features of the Spanish national character - modest restraint, self-esteem reveals in the portraits of dwarf jesters (1640s, Prado, Madrid) by another great portrait painter of the 17th century. - D. Velasquez.

From the beginning of the XVIII century. the portrait genre is actively developing in Russian art. A complex, ambiguous image of a serviceman of the Petrine era is depicted in the “Portrait of a Floor Hetman” (1720s, Russian Museum), written by I. N. Nikitin.

About Russian art at the turn of the two centuries, as in an earlier period, the portrait occupies an important place. The significance and variety of works created in this genre was demonstrated by the exhibition "Portrait in Russian Painting of the Late 19th - Early 20th Century", organized in 1975 in the halls of the State Russian Museum. It exhibited the works of more than fifty artists, of which a good half worked systematically 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, which developed in pre-revolutionary decades in difficult historical conditions, is an ambiguous and multifaceted phenomenon. Reflecting fundamental shifts in social relations and the mood of the revolutionary upsurge in the country, it was distinguished by its inconsistency and sharpness of artistic quest.

All this was bound to inevitably affect the portrait, which had passed in thirty years, as well as painting in general, an eventful path. Although among the portraits of the 1910s there are works of an abstractionist plan, the portrait still did not provide such wide opportunities for purely formal experiments as, for example, a landscape or a still life. This was partly explained by the originality of the genre, which consisted in the especially close dependence of the artist on nature, in greater responsibility to it.

It is precisely in the portrait, therefore, that the persistence of realistic traditions is traced more clearly than anywhere else, the connection with previous achievements is more clearly emerging. The works of V.G. Perova, I.N. Kramskoy, N.N. Ge and especially I.E. Repin, who conquered with high humanism and close attention to the person, became the starting point for the work of a number of artists of the next generation.

Many of them could not pass by the art of the remarkable masters of the 18th - the first half of the 19th century 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 the classical art of the West and East, Russian icon painting, folk art, and sometimes to new and latest European painting.

In the creative practice of some highly gifted masters, who managed to penetrate into the essence of certain phenomena of the art of the past and artistically refract them according to their own quests, without losing their individuality, such searches sometimes turned out to be extremely fruitful. For those who were incapable of independent creative understanding of the material, they turned into direct borrowing and eclecticism.

The movement of portrait art of the period under consideration did not proceed in a single stream, but rushed along several channels, nevertheless, both a general orientation and a change in forms of expression are quite clearly revealed in it, each of which is marked by certain stylistic features. Accordingly, the approach to nature, the nature and type of the 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 limits.

In the second half of the XVIII century. famous portrait painters worked F. S. Rokotov, the creator of images full of the finest spirituality (portrait of V.I. Maikov, ca. 1765, State Tretyakov Gallery), D.G.Levitsky, in his ceremonial and chamber portraits, he emphasized the spiritual breadth and harmonic integrity of his models (portrait of A. F. Kokorinov, 1769-1770, Russian Museum; portraits of pupils of the Smolny Institute, c. 1773-1776, Russian Museum), V. L. Borovikovsky, the author of female portraits, imbued with subtle lyricism (portrait of M. I. Lopukhina, 1797, State Tretyakov Gallery).

In the first half of the XIX century. the protagonist of portrait art becomes a romantic personality, diverse in its manifestations. Reverie and at the same time a propensity for heroic impulse, lively naturalness of the face and deliberate showiness of the pose are intertwined in the brush O. A. Kiprensky portrait of a hussar E. V. Davydov (1809, Russian Museum). Romantic belief in the inexhaustibility of the spiritual powers of a 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, the formation of realism, which fully affected the activities of the Wanderers, directly affected portraiture. One of the main places was occupied by a special type of portrait - a portrait-type, where a person, depicted in all his psychological complexity, was also evaluated by his role in society, recreated in an inseparable combination of his individual and typical features. Above, we saw 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, State Tretyakov Gallery) and I. N. Kramskoy (portrait of L. N. Tolstoy, 1873, State Tretyakov Gallery), who created a whole portrait gallery of outstanding contemporaries.

All life and work 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 was the initiator of the “revolt of 14”, when the best students of the Academy of Arts refused to write program graduation works on far-fetched, mythological themes devoid of social content and organized a kind of commune - the Artel of Artists.

Since 1870, Kramskoy has been the founder and ideological leader of the Association of Traveling Art Exhibitions, a passionate propagandist of realism in art. Not only in such monumental canvases as “Christ in the Desert”, the artist’s tireless search for the ideal of citizenship and democracy was reflected.

Perhaps they are embodied to an even greater extent in many portraits of contemporaries painted by Kramskoy in the 60s and 70s. An intellectual raznochinets, 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, State Tretyakov Gallery). This is not just a portrait, but a portrait-generalization, in which, through the individual, inherent, it would seem, only the model, something universal, natural, characteristic of all the best people of the era is conveyed. The same amazing fusion of the psychologically unique and typical of its time in the portraits of L. N. Tolstoy (1873) and N. A. Nekrasov (1877; both - State Tretyakov Gallery). A special place in the portrait work of Kramskoy is occupied by images of peasants.

He depicts not dark people crushed by need, but a “Woodsman” (1874, Tretyakov Gallery) who knows his own worth, ready to stand up for himself, or Mina Moiseeva (1882, Russian Museum) charming in his wise cunning (1882, Russian Museum; sketch for the painting “Peasant with a Bridle”, 1883, State Museum of Russian Art, Kiev).

The highest achievements in the creation of 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 the appeal to the open air, many Russian artists saw an opportunity to "move" to the sun, air, an opportunity to solve 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. Polenova and I.E. Repin. A brilliant implementation of the principles of the plein air was found in Repin's paintings "The Religious Procession in the Kursk Province" (1883) and "They Did Not Wait" (1884).

Elements of the open 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 the art of Repin, the open air became an important factor in the last, final stage of creativity. Repin now prefers to write young people, especially girls, among nature, lit by the sun. These portraits, made 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 touched the artistic worldview and some other pillars of the Wanderers. They make themselves felt in the portrait studies of Yaroshenko, 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 associates with her natural creative environment, in the portrait of N.I. Petrunkevich (1893), the work of Ge, although dark in color, but both in the choice of model and situation, and in its general mood, of course, echoes the growing strength of 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 studies to clarify the appearance and characteristics of the characters. Such are the "Protodeacon" (1877) and "The Hunchback" (1881, Russian Museum), portraits associated with the painting "The Procession in the Kursk Province" (1880-1883, State Tretyakov Gallery). As in "Barge haulers on the Volga", but in a larger form, Repin's great ability to feel and convey the spontaneous life of the masses, crowds of people, without losing the individual, portrait originality of each face, was manifested here.

The characteristics of the privileged part of the crowd - the landowner, the merchant, the priest - are marked by the spirit of socio-critical irony. In the figurative interpretation of ordinary people, beggars, wanderers, Repin remains a humanist and realist, who sees both the moral superiority of the people and their delusions. The false piety of a well-fed public is opposed by the deeply sincere but blind hope of the destitute 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 prominent representatives of Russian social thought, science and culture.

In his best portraits - V. V. Stasov, L. N. Tolstoy, M. P. Mussorgsky, Repin achieves the fullness and versatility of his characterization thanks to his amazing compositional ingenuity and activity of pictorial means, alien to addiction to any one manner: she always consistent with 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 ("The arrest of a propagandist", 1880-1892; "Refusal of confession", 1879-1885 and "They did not wait", 1884-1888, all in the State Tretyakov Gallery). The gamut of psychological reactions to the event reflected by the artist in the painting “They Didn't Wait” - amazement, distrust, joy - is undoubtedly dominated by a silent dialogue between 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 justifying the need for that sacrifice in the name of the duty to the people that once forced him to leave his home. The recognition by the family of the civil feat of the father, brother, son is put forward by Repin as a problem of wide universal significance. The tendency to psychological drama in the depiction of situations is also reflected in Repin's historical painting. The artist strives to show historical heroes in moments of extreme mental tension. This trend culminates in the painting Ivan the Terrible and his son Ivan on November 16, 1581 (1885, State Tretyakov Gallery).

The content of the picture, in addition to the specific historical plausibility of the situation and characters, speaks of the “eternal” conflict of punishing the despot with the torment of repentance for the innocently shed blood. In the painting “The Cossacks write a letter to the Turkish Sultan” (1878-1891, Russian Museum) there is a different idea, connected with the search for a life-affirming ideal, 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 "The Ceremonial Meeting of the State Council" (1901-1903, Russian Museum), completing a series of studies, 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 pictorial language itself, the highest realistic skill, true character, interest in the burning issues of our time - the guarantee of the enduring value of Repin's art.

Repin's experience in the field of plein air portrait was continued and enriched by painters of the younger generation - his student V.A. Serov and K.A. Korovin, whose works are “The Girl with Peaches” (1887), “The Girl Illuminated by the Sun” (1888), “The Chorus Girl” (1883), a portrait of T.S. Lubatovich (1886?) - were a real revelation for contemporaries. These works show not only the character of the 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.

Such a direct perception of the world, such a persuasiveness of the situation, freshness, sonority and purity of color has not yet known Russian portraiture. 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 in itself, as it often happened in the works of Western impressionism, but, on the contrary, contributed to the identification of the truth of life, the creation of inspired poetic images.

Plein air enriched Russian painting in many ways, but at the same time it was fraught with a certain danger, especially for portraiture. He introduced into it a moment of transience, momentaryness, which, with excessive enthusiasm for light and color effects, threatened to be lost in the portrait of a person. Nevertheless, during the 1890s and even the first two decades of the 20th century, a number of Russian artists skillfully used both plein air and some of the techniques of impressionistic technique in their portraits.

However, it is important to emphasize that the progressive movement of painting went in a different direction, towards strengthening 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 his concept, they were a truly new type of portrait. The generally accepted form of a portrait in the second half of the 19th century was a half-length, less often bust or generational image. Artists focused almost all their attention on the study of the human face.

Presented against a neutral background, he seemed to be isolated from the outside world, closed in on himself. In "Girls" by Serov and the portrait of Lubatovich Korovin, the space is taken much more generously, 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 - a tendency towards a generalized-synthetic pictorial implementation of images. After all, these are not just portraits, but portraits-paintings. What makes them so is both the presence of the entourage and the content, the significance of the portrait characteristics themselves, their synthetic structure. It is no coincidence that Serov's "Girl with Peaches" and "Girl, Illuminated by the Sun" have become a symbol of timeless values ​​- youth, the beauty of life, the closeness of man and nature.

Their strength lies in the exactly found measure of the particular and the general, the concrete-individual and the typical, the sensual and the rationalistic, the instantaneous and the eternal. The expansion of genre limits opened up new opportunities for artists. The description of the person being portrayed included additional components that helped to describe the model in a more versatile way, to talk about her lifestyle, tastes and interests, manner of dressing, holding on, and so on. For many artists, interest in roundness contributed to an increase in the emotional expressiveness of the image, for others it muffled its sound, transferred attention to minor details, weakening the psychological interpretation of the personality.

The portrait in Russian painting of the late 19th - early 20th centuries is a phenomenon of a large artistic scale. It is unusually diverse in its forms, stylistic features, and pictorial language. The highest manifestations of the genre are characterized by creative understanding of nature, poetic imagery, enrichment of expressive means, and artistry. And even if the personality of the model is sometimes not fully revealed in them, they still vividly characterize the era, reveal the features of its spiritual life and artistic quest. A deep sense of time, a sharp sense of the era is one of the strongest points of the best portraits created at the turn of the century. The creative path of artists, whose talent was formed in 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 the builders of the art of socialist realism.

The portrait plays an important role in Soviet art. The need to capture the image of a new person, marked by such spiritual qualities as collectivism, revolutionary purposefulness, stimulated the further development of a realistic portrait-type; such works as "Chairwoman" by G. G. Ryazhsky (1928, State Tretyakov Gallery), "Partisan" by N. I. Strunnikov (1929, State Tretyakov Gallery), "Academician I. P. Pavlov" by M. V. Nesterov (1935, State Tretyakov Gallery) , have become capacious symbols of the era of the socialist reorganization of society. A holistic, lively and multifaceted image of V. I. Lenin is recreated by the “Leniniana” by the sculptor N. A. Andreev - a unique series consisting of more than 100 sculptural portraits of the leader of the proletariat (1919-1932, the Museum of V. I. Lenin and the State Tretyakov Gallery).

The best qualities of the Soviet people are reflected in the portraits of the period of the Great Patriotic War. The Soviet portrait developed widely and multifaceted in the post-war years. A. A. Plastov embodied typical, stable features of the national character in the images of peasants-countrymen. Unexpected compositional angles, contrasts of local color spots emphasize the sharpness of the psychological characteristics in the works of P. D. Korin. T. T. / Salakhova (“Composer Kara Karaev”, 1960, State Tretyakov Gallery). The significance of the characters, the constant readiness for action are felt behind the external impassibility of the characters in the painting by D. I. Zhilinsky “Gymnasts of the USSR” (1964, State Tretyakov Gallery). The modern Soviet portrait not only allows a deeper look into the inner world of our contemporary, but also actively participates in the formation of new spiritual values ​​of Soviet society.

One of the essential facets of this genre is the depiction in painting, graphics, and sculpture of images of prominent Soviet statesmen and public figures, as well as representatives of science, culture and art. The great public interest in the genre of portraiture is evidenced by the special portrait exhibitions regularly held in recent years.

Girl with peaches. Portrait of Vera Savvishna Mamontova (1875-1907), married Samarina. 1887

The 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 given in the closest, familiar environment for him. At the same time, deprived 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 a poetic transformation, deep penetration into nature - with the sincerity and sincerity of her perception. Light plein-air painting, imbued with freshness and a subtle sense of nature, contributes to the identification of the character of the person being portrayed. “We have never seen in the pictures such air, nor light, nor this trembling warmth, almost the tangibility of life,” I.E. Grabar.

The young man Serov, who often visited Abramtsevo, was friendly with the children of S.I. Mamontov. In the youngest - a cheerful, cheerful, mobile girl - he found that "pleasant" that he dreamed of when, after leaving the Academy, he began to work independently. “The idea of ​​the portrait was born in this way,” writes M.V., who visited Abramtsevo the following year. Nesterov. - Verushka remained at the table after dinner, everyone left, and only the extremely silent Serov was her interlocutor. After a long contemplation, he asked her to give him ten sessions, but they turned out to be few, and he worked for a whole month. A wonderful thing came out that in Paris would make his name, if not loud, then famous ... ". The strength of the portrait is not only in the charm of the image, sonority, purity and vivacity of color. “I really wanted to keep the freshness of the painting with complete completeness,” Serov said. In the guise of Vera Mamontova, her costume, the character of the interior of the old landowner's house (the former estate of the Aksakovs), truly Russian life is captured, "a whole strip 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, 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” a year later) into a picture that personifies the beauty of youth, the eternal joy of being. For this portrait in 1888, the artist received an award from the Moscow Society of Art Lovers.

Autumn bouquet. Portrait of Vera Ilyinichna Repina (1872-1948), the artist's daughter. 1892

Repin belongs to a 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 did not wait" (1884), "Refusal of confession" (1879-1885), portraits of M.P. Mussorgsky (1881), V.V. Stasov (1883), L.N. Tolstoy (1887) and other works determined the highest achievements of Russian painting in the second half of the 19th century. A.N. Benois noted that Repin's paintings were so captivating for democratically minded youth, they "disturbed public opinion" like no other artist's work. In the late 1880s and early 1890s, Repin painted mostly portraits. They embodied his understanding of new tasks , who stood before art at the turn of two eras and then excited artists. Repin described them as a transmission of "poetry in life, ... vital beauty" 2. A magnificent master of the open air ("On a turf bench", 1876; "The 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 Zdravnev, the artist's estate, located in the Vitebsk province on the banks of the Western Dvina. Repin's 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 for some time performed on private stages in St. Petersburg and other cities. In the future, however, she did not find herself in art and from 1914 began to manage the household in her father's estate in Penates. Starting work on the portrait, the artist informed his daughter L.N. Tolstoy, T.L. Tolstoy: “Now I began to paint from Vera: in the middle of a garden, with a large bouquet of coarse autumn flowers, with a thin, elegant boutonniere; in a beret, with an expression of a sense of life, youth and bliss. With great love, the artist conveyed a face attractive for 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 depicted in the foreground of the girl is interpreted plastically, volumetrically, materially.

The motley bouquet in her hands, as it were, absorbed all the colors of the canvas. With subtly found color combinations, the artist connected the figure of a man with the landscape and conveyed a feeling of an environment saturated with light. The optimistic content of the "Autumn Bouquet", its pictorial construction, plein air are the distinctive features of the work in question. The image created in the picture is unusually characteristic of Repin. Embodiing in him his idea of ​​"vital beauty", the artist is still far from idealization or, as he himself said, from "sleekness, vulgarity", passed off as "elegant". In the portrait, Repin's "common folk", "mercilessly truthful realism" was fully manifested.

"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 acclaimed in the press. Many artists attributed it to the best works presented at the exhibition and "made a splash".

Portrait of Natalia Ivanovna Petrunkevich, married Konisskaya. 1893

Ge, as a person of a philosophical mindset, was most of all fascinated by historical and religious and moral topics. His famous painting "Peter I Interrogates Tsarevich Alexei" (1871) is rightly considered one of the most 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 evangelical themes (The Last Supper, 1863; Golgotha, 1893; Crucifixion, 1894, and others) sought to embody his faith in the lofty universal ideals of goodness, love, and justice. Ge began to work on portraits while still studying at the Academy of Arts. For many years of creativity, he painted many of his contemporaries. Basically, these were advanced 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 a deep penetration into the spiritual world of the model. The person in them is usually shown in a state of intense thought. For the most part, these are bust portraits, their range of colors is dark and restrained. The portrait of Natalia Ivanovna Petrunkevich was painted by the artist at the end of his life. Ge is now interested not so much in understanding the originality of the model as in conveying a certain mood. The girl is depicted almost in full growth at the open window. She is immersed in reading. Her face, given in profile, the tilt of her head, her posture express a state of thoughtfulness. As never before, Ge paid great attention to the background. The beautifully rendered landscape outside the window, the last pre-sunset rays of the sun gliding through the foliage, the gathering dusk bring into the work a sense of the transience of time, some alertness 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 related 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 Petrunkevich landowners, who lived in the neighborhood, posed for Ge. Recently it became known that N.I. Petrunkevich was shot by the Petliurists during the Civil War. The work was exhibited at the XXI exhibition of the Association of Traveling Art Exhibitions in 1893. I.E. Repin, visiting the exhibition, reported L.N. Tolstoy: “The way a painter made a great success against his latest works. I really liked his girl, standing at the open window with the background of a garden lit by the setting sun. "" V.A. Serov also highly appreciated this work. In 1910 he wrote to I.S. Ostroukhov: "... why not make inquiries about portrait of Ge - Mrs. Petrunkevich? Maybe they would have sold it to the Gallery - an excellent thing and I remember it very well. "On the recommendation of Serov, the portrait was purchased for the Tretyakov Gallery.

Irina Scriabina
Essay "Portrait of a modern teacher"

Essay on the topic of« Portrait of a modern teacher» .

Profession teacher- one of the oldest. In fact, teacher is a link between generations, a bearer of socio-historical experience.

Modern life makes new demands on a person. Society needs people who are inquisitive, active, creative thinkers, able to make non-standard decisions and take responsibility for their adoption, able to make life choices. And he must always remain young in his work - keep up with the times, not stop there, always be on the lookout. Modern the teacher must be a professional in everything.

The teaching profession is, in my opinion, the most important in the world. The teacher has to solve many exciting children's issues. This is probably not only a profession, but a state of mind, because the first teacher remains in the hearts and memory of every child. Children, entering school, find a second mother, the same caring, ready to help in difficult times, explain, teach, listen, judge in disputes, etc.

Not so long ago, the main task of a primary school teacher was to teach children certain knowledge, skills, work them out and consolidate skills. In our rapidly developing time, this is already not enough: it is necessary not only "invest" some knowledge, but to teach how to get it, to teach how to learn.

In the classroom, the teacher and the student should be employees, since only in a trusting and friendly environment the child will be able to discover and realize their potential. The main, main work in the lesson is assigned to the student. After all, if a child is constantly fed with a spoon and not given it in his hands, he will not learn to eat on his own. Likewise on lesson: it is necessary to teach the child to acquire knowledge by his own efforts, only under this condition the child will grow up thinking, freely reasoning and will not be afraid to express and defend his opinion.

And the task contemporary teachers strive to develop, enrich this personality with knowledge, skills, emotions, and life experience.

I am a teacher in an elementary school. Responsibility to be the first teacher. After all, it is the first teacher that parents trust the most precious thing they have - their children. And it depends on me, the first teacher, how not only the school life of the child, but also his future will turn out. 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, see each child as a person.

Modern the teacher must have pleasant manners, and this includes facial expressions, gestures, posture, and communication skills, which wins people over. All the manners of the teacher should have one thing in common - this is the observance of 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, forgive the student.

I believe that this is a person with a firm 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 pupils, developing creative personal qualities of children, attaching particular importance to the formation of basic skills , UUD, providing the opportunity to plan their actions aimed at achieving a certain result, the formation of healthy lifestyle and social health skills.

For students, the personal qualities of a teacher are more important than professional ones. That is, if a teacher is highly valued by students as a person, they will love him and his subject. And this will allow the teacher to be successful.

The modern teacher is a man who is believed, from whom they expect, albeit a small, but a miracle at every lesson. And, of course, there is a response not only from children's hearts, but also from their parents.

I love my profession. I understand that in order to be successful in it, you need constant work on yourself, like climbing a built ladder. I'm ready to rise and improve...

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Essay by a teacher-psychologist of a preschool educational institution I drop the canopy from the sun, I start the morning here. My profession is a psychologist, Or is it a calling? I'm touching revelation here, I'm here.

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"Portrait of a modern teacher"

senior counselor

Tarabykina E.S.

I will not talk about what a modern teacher should be like in general, but, referring to the fact that I myself work at a school, I will reflect on this category of people. I myself was a child and in my fantasies painted a portrait of the ideal teacher. What was he like? In front of me I saw a kind, understanding person who could always come to the rescue at any moment, would be advisers and a mentor .. I wanted the teacher to love me, respect me, appreciate my slightest success. This is just a part of what I dreamed about on the long road to school.

As you know, at any stage of education, children need a mentor, who is given by God to predict how his word will resonate in the quivering heart of the child, waiting for understanding, care, support from him.

Modern life makes new demands on a person. Society needs people who are inquisitive, active, creative thinkers, able to make non-standard decisions and take responsibility for their adoption, 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 at the same time? Well, who will argue. And he must always remain young in his work - keep up with the times, not stop there, always be on the lookout. A modern teacher should 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.

Not only visual appeal, but also verbal behavior forms the image of a teacher. The perception and understanding of his speech by students is associated with the process of listening, which accounts for approximately 25-50% of the study time, therefore, speech skills today are the most important professional component of the teacher's image.

There are rules for the teacher's speech culture: speak quietly, but so that everyone can hear him, clearly, so that the listening process does not cause significant stress; speaking speed of about 120 words per minute. Remember: you are not only heard, but also seen, so do not forget about non-verbal behavior (facial expressions, gestures, postures, gaze, gait, posture).

An attentive look, a friendly smile, and friendly gestures have a positive effect. It is important to remember that explanatory gestures contribute to better assimilation of information. Every profession has its "don'ts". There are also in the teaching profession: a teacher should not be gray.

As S.L. Soloveichik: “An ordinary teacher is not a very legitimate combination of words: a teacher cannot be an ordinary teacher, otherwise he is not a teacher ... The one who applied to the pedagogical institute, in fact, takes on the responsibility of becoming an ideal person, at least for future students.”

Teaching is not only a profession, it is a life credo. Whether we will be such teachers depends only on us.

Composition

The story of N.V. Gogol Portrait consists of two interrelated parts.
The first part of the story tells the viewer about a young artist named Chartkov, who one day, going into an art shop, discovers an amazing portrait. It depicts an old man in some kind of Asian costume, and the portrait itself is old. But Chartkov is simply struck by the eyes of the old man from the portrait: they possessed a strange liveliness; and destroyed the harmony with their reality. Chartkov buys a portrait and takes it to his poor house. Meanwhile, Chartkov's dream is to get rich and become a fashionable painter. At home, he examines the portrait better, and sees that now not only the eyes are alive, but the whole face, it seems as if the old man is about to come to life. The young artist goes to bed, and he dreams that the old man got out of his portrait, and shows a bag in which there are a lot of bundles of money. The artist discreetly hides one of them. In the morning he does discover the money. What happens to the main character next? Chartkov rents a new apartment, orders a commendable article about himself in the newspaper and begins to paint fashionable portraits. Moreover, the similarity of portraits and
customers - the minimum, as the artist embellishes faces and removes flaws. Money flows like a river. Chartkov himself wonders how he could previously attach so much importance to similarity and spend so much time working on one portrait. Chartkov becomes fashionable, famous, he is invited everywhere. The Academy of Arts asks him to express his opinion about the work of a young artist. Chartkov was about to criticize, but suddenly he sees how magnificent the work of a young talent is. He understands that he once traded his talent for money. And then he is possessed by envy of all talented artists - he begins to buy up the best paintings with one goal: to come and cut them into pieces at home. At the same time, Chartkov constantly sees the eyes of the old man from the portrait. Soon he dies, leaving nothing behind: all the money was spent on the destruction of the beautiful paintings of other artists.
In the second part of the story Portrait, the author talks about an auction where a portrait of an old man is being sold. Everyone wants to buy a strange painting, but the other one person, saying that the portrait should go to him, because he had been looking for it for a long time. The person who bought the portrait tells an incredible story. Once upon a time, there lived in Petersburg a certain usurer, who was different from other opportunities to lend any amount of money. But a strange feature - everyone who received money from him ended his life sadly. A certain young man patronized the arts and went bankrupt. He borrowed money from a usurer, and suddenly began to hate art, began to write denunciations, everywhere he saw the impending revolution. He is punished, exiled and he dies. Or - a certain prince falls in love with a beauty. But he cannot marry her, because he is ruined. Turning to the usurer, marry her and becomes jealous. Somehow he even rushes at his wife with a knife, but in the end he stabs himself. The father of the man who bought the painting by the artist. Once the moneylender asked to portray him. But the longer he draws, the more disgust he feels for the old man. When the portrait is drawn, the usurer says that he will now live in the portrait, and dies the next evening. Changes are taking place in the artist himself: he begins to envy the talent of the student ... When the friend takes the portrait, peace returns to the artist. It soon turns out that the portrait brought misfortune to a friend, and he sold it. The artist understands how much trouble his creation can bring. Having accepted, tonsured a monk, bequeathed to his son to find and destroy the portrait. He says: Whoever has talent in himself must be the purest of all in soul. People listening to the story turn to the portrait, but it is no longer there - someone managed to steal it.
So ends the story of N.V. Gogol Portrait.