The painting "Young painter" I. I

TATLIN publishes the last chapter from Wassily Kandinsky's book "On the Spiritual in Art".

Full of mystery, mystery, mystical way arises from the "artist" creation. Freed from it, it receives an independent life, becomes a person, an independently spiritually breathing subject, which also leads a material-real life, which is a being. It is not, therefore, an indifferent and accidentally arisen phenomenon that also lives indifferently in the spiritual life, but, like every being, it is a phenomenon that in turn creates further, possesses active forces. It lives, acts and participates in the creation of the described spiritual atmosphere. From the point of view of this inner exclusiveness, the answer to the question of whether a work of art is good or bad is born. If it is "bad" or weak in form, it means that the form is bad or too weak to evoke a pure-sounding soul vibration of any kind.

In the same way, the "well-written" picture is not really the one that is true in valeur "ax(the inevitable French valeur "ax) or in some special way, almost scientifically divided into warm and cold tones, but that picture is well painted, which lives a full inner life. And also “a drawing is good” only one in which nothing can be changed without disturbing this inner life, completely not paying attention to whether this drawing contradicts anatomy, botany, or some other science. Here the question is not whether some external (and therefore only and invariably accidental) form is offended, but only whether the artist uses this form as it exists externally or not. Similarly, colors should be used not because they exist in this sound in nature or not, but because they are needed in this sound in the picture or not. In short, the artist is not only authorized but also obliged to deal with the forms as necessary for his purposes. And not only anatomy or something like that, but also the fundamental overturning of this knowledge is unnecessary, but the complete unlimited freedom of the artist in choosing his means 2

This necessity is the right to unlimited freedom, which immediately turns into a crime as soon as it leaves this ground. From the artistic side, the right to this is the aforementioned internal plane. In all life (and therefore in art) - a pure goal.

And in particular, aimlessly following scientific data can never be as harmful as aimlessly overturning them. In the first case, an imitation of nature (material) arises, which can be used for various special purposes. 3 In the second case, an artistic lie arises, behind which, like any sin, stretches a long chain of nasty consequences. In the first case, the moral atmosphere remains empty. He makes her like a stone. The second - it fills with poison and plague.

Painting is art, and art in general is not the aimless creation of things spreading in the void, but is strength and power, full of goals, and should serve the development and refinement of the human soul, the movement of the triangle. It is a language that is spoken in its only accessible form and characteristic of the soul about things that are the soul's daily bread and which it can only receive in this form.

When art abandons this task, the void remains unfilled, since there is no other power and strength in the world that could replace art 4 And always in times of intense spiritual life, life art is also made, since the soul and art are interconnected by an indestructible chain interactions and mutual improvement. In those periods when the soul is neglected and drowned out by material views, unbelief, and purely practical aspirations arising from this, the view arises that art is not given to a person for a specific purpose, but that it is aimless, that art exists only for art ( L "art pour L" art) 5

Here the connection between art and the soul is half anesthetized. But this soon takes revenge, because the artist and the viewer (speaking to each other in the language of the soul) cease to understand each other and the latter turns his back on the former or looks at him as an acrobat, whose dexterity and resourcefulness surprises him.

First of all, the artist must strive to change this situation, by recognizing his debt to art, and therefore to himself, and not to consider himself the master of the situation, but a servant of higher goals, whose duties are definite, impersonal and holy. He must educate himself and delve into his own soul, take care of this soul of his and develop it so that his external talent can wear something, and not be like a lost glove from an unknown hand, only a semblance of a hand.

The artist must have something to say, since it is not the mastery of the form that is his task, but the adaptation of this form to the content.

The artist is not at all some special minion of fate. He has no right to live without duties, his work is difficult and often becomes a cross for him. He must know that his every act, every feeling, thought form the intangible finest material from which his creations arise, and that therefore, if he is free, then not in life, but only in art.

Hence it goes without saying that the artist is three times responsible in comparison with the non-artist: first, he must return the talent given to him; secondly, his actions, thoughts, feelings form, just like in any person, a spiritual atmosphere and in such a way that they can either enlighten or poison it; thirdly, these actions, thoughts, feelings are the material for his creations , which secondarily affect the spiritual atmosphere. He is not only and in the sense of the king, as he calls Sar Peladan that his power is great, but that his duty is also great.

If the artist is a priest of the "Beautiful", then this Beautiful is also sought with the help of the same principle of intrinsic value that we have encountered everywhere. This "beautiful" is also sought only on the scale of inner greatness and necessity, which has not changed us all the way up to now.

That is beautiful that corresponds to the inner spiritual need. That is beautiful - what is internally beautiful 7

One of the first fighters, one of the first spiritual composers in the art of today, from which the art of tomorrow is already growing, M. Maeterlinck says: “There is nothing on earth that longs for beauty more and that itself becomes beautiful more easily, like the soul ... That is why so few souls do not submit to the domination of the soul, surrendered to beauty.

And “that property of the soul is oil, which facilitates the slow, barely visible, at times outwardly stuck, but invariably constant movement of the spiritual triangle forward and upward.

1 For example, the so-called "immoral" works are either not capable of evoking any spiritual vibration at all (then they, by our definition, are not artistic), or, having a correct form in any respect, they also evoke spiritual vibration. Then they are "good". If, in addition to this spiritual vibration, they give rise to purely bodily, low properties (as it is customary to call it among us), then it does not follow from this that one should have a negative attitude towards the work. and not to the subject who perceives it basely.

2 This unlimited freedom must be based on the basis of internal necessity (which is called honesty). And this principle is not only the principle of art, but also of life. This principle is, as it were, the superman's greatest sword in the fight against philistinism.

3 Of course, if this imitation of nature belongs to the hand of an artist who lives spiritually, then it can never be a completely dead rendering of nature. And in this form the soul can speak and not be heard. As a counterexample to the infamous heads of Denner'a (Alte Pynakothek in Munich), at least the landscapes of Canaletto can serve.

4 This void can easily be filled with poison and plague.

5 This view is one of the ideal agents of such times. It is an unconscious protest against materialism, which wants to set a practical goal for everything. Here again it is clearly shown how strong and ineradicable art is, as well as the strength of the human soul, which is alive and eternal.

6 It is probably clear that here we are talking about the education of the soul, and not about the need to forcibly squeeze conscious content into every thing or forcefully dress this invented content in artistic clothes! In these cases, nothing would have arisen, except for a soulless head thing. It has already been said above: the birth of an artistic creation is full of mystery. No, if the artist's soul is alive, then there is no need to support it, to help it with head work and theories. She herself will find what to say to her, even if this “what” was completely unclear to the artist himself at the moment of creativity. The inner voice of the soul will also tell him what form he needs and where to get it (external or internal "nature"). Every artist who works, as they say, from feeling, knows how suddenly and unexpectedly for himself the form he has invented becomes disgusting to him and how “as if by itself” another correct one replaces this reversed one. Becklin says that a real work of art is, as it were, improvisation, which means that calculation, construction, preliminary arrangement cannot be anything other than steps along which a chain is reached, which may not be unexpected for the artist himself.

7 By this beautiful is meant not external or even internal walking morality. but all that, even in the most intangible form, refines and enriches the soul. And therefore in painting, for example, any paint is internally beautiful, because any paint gives birth to spiritual vibration, and any vibration enriches the soul. And therefore, finally, everything that is “outwardly ugly” can be internally beautiful. So in art, so in life. And therefore in life there is nothing ugly in its inner result, i.e., the impact on the soul of another.

8 Von_der innern Schönheit S. 187 (K. Robert Langewiesche Verlag Düsseldorf und Leipzig).

• Graphics:Wassily Kandinsky

Arkhipova Yulia Ravilievna,

primary school teacher MBOU secondary school No. 14 city of Irkutsk

EMC "Perspective Primary School"

Russian language lesson in 4th grade

Lesson topic: Painting

Lesson objectives:

• repeat the goals and features of the construction of such types of text as description and narration;
• to teach in writing to compose a text-narrative and a text-description based on a visual image;
• clarify what a reasoning text is and how it differs from a narrative and a description;
• to teach to reason, through an inciting dialogue and a productive (creative) task, confirming one’s opinion with the details of a painting, on the material of a reproduction of Ivan Firsov’s painting “Young Painter”;
• develop memory, thinking, attention, speech of students, enrich vocabulary through the ability to work with additional sources of information;

Metasubject outcomeslesson is the formation of the following UUD:

Personal universal learning activities
- educational and cognitive interest in new educational material and ways to solve a new problem;
Regulatory universal learning activities

Goal-setting as a setting of an educational task based on the correlation of what is already known and what is still unknown;

Planning - determining the sequence of intermediate goals, taking into account the final result; drawing up a plan and sequence of actions;

Self-assessment - the selection and awareness by students of what has already been learned and what still needs to be learned, awareness of the quality and level of assimilation;

Self-regulation, as the ability to mobilize forces and energy, to volitional effort and overcome obstacles.

Cognitive universal learning activities

General educational universal actions:

Independent selection and formulation of a cognitive goal;

Search and selection of the necessary information, including the solution of work tasks using additional sources of information (dictionaries);

Structuring knowledge;

Conscious and arbitrary construction of a speech statement in oral form; pronunciation of the studied algorithms (the ability to compose a text through an inciting dialogue and a productive (creative) task). reflection of the methods and conditions of action, control and evaluation of the process and results of activities;

Information universal actions:

- search and selection of necessary information from various sources (textbook, dictionaries)

Analysis and transmission of information;

Application and presentation of information;

Sign-symbolic universal actions:

- the use of sign-symbolic means, symbols;

Formation of the ability to model, i.e. identify and generally fix the essential features of objects in order to solve specific problems.

brain teaser universal actions:

Analysis of objects in order to highlight features (analysis of the details of a reproduction of a painting)

Summing up under the concept, derivation of consequences;

Establishing causal relationships,

Building a logical chain of reasoning,

Proof;

Communicative universal learning activities:

Learning collaboration with teacher and peers; the ability to interact (the ability to take into account a different opinion and position);

The ability to express one's thoughts with sufficient completeness and accuracy in accordance with the tasks and conditions of communication; the ability to master the dialogic form of communication.

Equipment, visibility:

Textbook Kalenchuk M.L., Churakova N.A., Baykova T.A. Russian language grade 4, part 2;

Textbook Churakova N.A. Literary reading grade 4, part 1;

Symbols (dictionaries: explanatory, etymological, spelling; "Museum House", work in pairs)

The subject result isthe mastered experience of compiling a narrative text and a descriptive text based on a visual image.

During the classes

1. Organizational stage

Objectives: to provide a comfortable working environment and a positive emotional mood for students. Greeting, organization of attention.

Greeting guests

- Guys, we have an unusual day.

And the class is full of guests.

What do we need to tell our guests?

(We are very happy to see you!)

- Guys, I wish you success. Let the knowledge that you have acquired, your observation and your personal experience help you. Smile, we are starting a Russian lesson.

2. Definition of the topic, setting the goal of the lesson.

• On the board, you see symbols that will help you determine what lesson is today? Today is a speech development lesson. What do we learn in these lessons? Why are they useful? Name the verbs for each letter of the word LESSON!
• At - .... learning to solve spelling problems;
• R - ... we develop speech, attention, memory; we reason; working with dictionaries
• ABOUT - .... we answer, discuss, generalize, reveal the secrets of the language;
• TO - .... we control, correct.

• What topic did we study in the last speech development lesson? (Text)

• 3. Knowledge update. Preparing students for active and conscious assimilation of new material

Tasks: to organize and direct the cognitive activity of students to the perception of new material; activate mental operations

• What do we know about text?

1.Text - this is a story, a message in which all sentences are connected in meaning, i.e. subject to a theme. Find the origin of the word text in the dictionary. (Etymological Dictionary, p. 162) Text - any coherent complete speech (literary work, essay, as well as an excerpt from them. \\ From the Latin TEXTUM - fabric, connection, coherent presentation. Close kinship - TEXT, distant kinship - CONTEXT (complete in meaning part of the text))

1. What types of texts are distinguished?

(narration, description, reasoning)

1. Narrative text is dominated by…. Verbs. What is the purpose of such a text?
2. In the description text – adjectives. What is the purpose of a descriptive text?
3. What is reasoning? (according to the textbook, pp. 11, 13, 15)

Reasoning is the desire of a person to find an answer to a question that concerns him. In reasoning, the train of thought of a person is clearly visible.

Reasoning is an explanation of a phenomenon based on observation.

• Today we continue to work on the topic "Text". We will learn to compose different texts, based on a visual image; argue, confirming your opinion with the details of a painting. We will work, as usual, amicably and actively. Let's open a notebook, write down the number, class work.

• vocabulary work, (work with spelling, etymological dictionaries)

k-rtina p-l-tno

- Where can we find the spelling of these words? (Spelling Dictionary, p. 126)

What topic do these words refer to? (art)

What other words from the “Write Correctly” dictionary can we attribute to the topic “Art”? (Still life, landscape, portrait).

What did you list? (genres of painting).

Where can we find the origin of the word genre ? (Etymological Dictionary, p. 159)

Today we are working with a picture, the genre of which you will try to determine yourself. Open the textbook (Russian language, part 2, on page 16.)

4. Work on the topic of the lesson

- Let's go to the Museum House. (Textbook Literary reading grade 4, part 1)

Consider a reproduction of the painting by I.I. Firsov. MUSIC

What is the name of the painting?

In what year was the picture painted? ( 1767)

What is the name of the museum where the painting is currently located? (State Tretyakov Gallery, Moscow)

Ivan FIRSOV. "Young Painter" (1767) State Tretyakov Gallery

Who is in the picture? (A boy-painter is depicted in front of an easel. He paints a portrait of a girl).

Where do we find the definition of the word easel? ( Explanatory dictionary, textbook Russian language grade 4, part 2, p.174)

- What genre is the painting in?(difficulty)

Art critics recognize the work of Firsov "Young painter"the very first Russian household painting.

So, what genre is this picture made in?? (In the genre of everyday painting, everyday painting). According to the level of artistic skill, Firsov's painting "The Young Painter" is recognized as a masterpiece.

- Textbook work.Answers on questions.(Textbook Russian language, part 2, p. 17, exercise 4)

Now we will take a closer look at this reproduction. And the questions from exercise 4 will help us with this.

How old is the young artist? What about his models? Who else is in the picture? (Girl 4-5 years old; the boy is 11-12 years old. The picture also depicts a young woman. Perhaps this is the mother or nanny (governess) of the girl.)

Can you guess how the little girl feels? Is it easy for her to sit still? How long has she been posing? Why do you think so? (The girl is clearly tired of posing. Perhaps she wants to get up, run. play. At her age, it is difficult to sit in one place. Or maybe she wants to quickly look at the work of the artist. Judging by the fact that the artist’s portrait on canvas is nearing completion, the girl has been posing for a long time and, perhaps, not for the first time.)

Try to guess what the young woman says to the girl and why she threatens her with her finger?(The woman shakes her finger so that she does not turn her head and sit still. Perhaps she asks the girl to be patient a little more, explains that the portrait is almost finished and promises that the girl will see him.)

What can be said about the character of the boy, judging by his posture and gestures? Does he feel confident behind the easel, like a real artist, or hesitating, like an aspiring artist? Consider how the boy holds the brush; note the palette and other brushes in his left hand. - Palette (Explanatory Dictionary, p. 177)(The boy holds brushes and a palette with a familiar gesture. His posture is free and natural, one can feel the habit of a painter’s work in it: he put one foot on the easel, and his hand with a palette and brushes rests on the knee of this leg. He confidently paints with a brush and looks appraisingly The boy has an attentive look of the artist - it can be seen even from this angle (the young painter is depicted almost with his back to the audience).

On the floor at the boy's feet stands sketchbook . (Explanatory Dictionary, p. 188)

- Can you describe the young painter's studio room? What objects speak about the hobby of its owner? Notice the figurine papier mache . Can you guess why the artist needs it?

(The workshop of the young artist is not very large, but it seems spacious, since there is little furniture in it. In addition to a large easel, a chair on which the boy sits, and a footstool, there is a table in the room. On the table you can see books, drawings, plaster sculpture ( female bust) and a papier-mâché figurine. This mannequin is needed, most likely, in order to learn to portray a human figure. Almost all objects testify to the fact that the owner of this room is an artist: an easel, a sketchbook lying on the floor, everything what is on the table, as well as pictures on the wall)

Do you think this picture was painted in the 18th or 20th century? What details helped you guess? (Judging by the clothes of the people depicted in the picture, we can say that the picture was painted in the 18th century. A young woman and a girl are dressed in long dresses and caps. The boy is wearing a camisole, short pants, stockings.)

Exercise for the brain and eyes

1. Pupils stretch their arms forward and with both hands simultaneously write out horizontal eights to the left, to the right; in different directions of hand movement.

2. Children look at the tip of the nose, into the distance, left, right, up, down, write out vertical and horizontal eights with their eyes.

3. Valeological massage (to relieve muscle tension).

1. Work in pairs

- We continue our research. Let's complete the written task (p. 18) (Sketch in a draft.)

In pairs, agree on who will do what task.

Psychological attitude

Let's take each other's hands, say our motto. (I wish you good luck! I wish you well! If it's difficult, I'll help you!)

Exercise 1 Describe in writing the room of a young artist. (Compose a short descriptive text based on questions, pp. 18-19.)

Task2 Tell in writing about what is happening in the workshop. (Compose a short narrative text based on questions, p. 19)

painting artist

canvas master brush DICTIONARY

canvas (Explanatory Dictionary, p. 180) painter SYNONYMS

Job

Mutual verification.

1. Checking the execution of the task

So, let's check what texts you got.

Task 3. Orally discuss on the topic “How serious is his passion for painting for a boy?”

(The young artist works with passion and confidence. The boy feels like an adult involved in art. He takes his job seriously, enthusiastically and responsibly.)What do you think is the future of this boy? What will he be when he grows up?

1. Homework.one). Add your text. 2) Exercise 5, p. 20. Compose an oral text-reasoning on the topic “Thinking about my hobbies”
2. Generalization. Final reflection.

What did you learn new for yourself? (I found out... I got it...)

What seemed difficult?

What was interesting?

Today in the lesson I .... (the guys continue the sentence, for example: it was interesting to learn about

At home I will talk about .... (children continue the sentence).

Evaluate your work in the lesson with the help of a sign-symbol. In the next lessons, we will continue to learn how to compose interesting texts of various types. I want to thank you allfor interesting answers, for good work. Well done!

The word charming is short adjective. In this case, it is derived from the word CHARMING and is a short neuter singular adjective.

Sentences with the word charming

Yannis brought baskets of bread, charmingly peeping over the edge of a tableclothed table and earning enough money from tips to afford a bear cub, a radio-controlled toy car, and a model of the World Cup made out of durable plastic.

Captain Corelli's Mandolin - Louis de Bernières

With what an air of importance this little fairy tried to appear much more mature and reasonable than I, when she said: “What a stupid boy!” - and laughed so charmingly that I forgot about the offense contained in these words, and only rejoiced, admiring it.

I looked at her, and it seemed to me that charmingly-capricious appearance that she is not very inclined to trust her friend and protector; but then a bell was heard; Mr. Spenlow said it was the first call for dinner and took me to change.

The life of David Copperfield as told by himself. Book 1 - Charles Dickens

He was charmingly simple-hearted, and it was clear that he was saying all this in order to inspire us with courage and so that Agnes would believe his encouraging report about his father; and yet we were very pleased to hear him.

I don't know if it was reasonable, but anyway it was charmingly and fit their nature.

The life of David Copperfield as told by himself. Book 2 - Charles Dickens

It was charmingly!

Rebecca - Daphne Mourier

– charming, charmingly!

– charming- politely assented the youngsters.

Brave New World - Aldous Huxley

- But they charmingly sing.

Brave New World - Aldous Huxley

This page contains information about what part of speech the word "charming" is. According to the rules of the Russian language, the word charming is a short adjective. We hope that now you have no questions left about what part of speech the word charming belongs to. In addition, on this page you can see example sentences with the word charming.

Composition based on the painting: I. I. Firsova "Young painter".
The painting "Young Painter" was painted in the eighteenth century, when genre painting was not popular and was not recognized by the Academy of Arts. For many years, the authorship of the canvas was not established. And only in the twentieth century it became known for certain that this was the work of the Russian artist I.I. Firsov, who was engaged in the design of performances, including the first Russian opera, magnificent festivities organized by nobles.
And only one painting by I. I. Firsov has survived to this day, striking with the mastery of creating genre painting, which was not characteristic of that time. Firsov can be called the founder of this trend in Russian painting.
The picture is simple and uncomplicated. A young talent, an artist, paints a portrait. The same young person serves as his model. It is difficult for a girl to sit still. Her eyes burn with mischief and slyness. She wants to jump off and see what the boy is doing at the easel. But a strict mother threatens her with a finger, calling for patience and perseverance. And the girl, holding back her impulse, clung to her mother. And the young artist is so passionate about his work that he does not notice anything but his creation.
On the floor next to him is a box of paints. To his left is a sculpture and a bust, paintings are placed on the wall. The room is brightly lit by sunlight from the window. A bright green curtain completes the decoration of the room.
I.I. Firsov "clutters up" his creation with amazing skill. There is practically no free space in the picture. But that doesn't make the picture worse. On the contrary, it reveals the life of the people of that time, their private life. Bright colors give the picture an indescribable expressiveness and poetry.

The history of the painting by I. I. Firsov "Young painter".
The plot of this picture is simple. In a spacious studio filled with even light, a boy artist sits in front of an easel and enthusiastically paints a portrait of a girl. An adult woman, mother or older sister, persuades the little model to sit still and maintain a pose. At the feet of the artist stands an open box of paints, on the table are the usual props of a painting workshop: a marble bust, several books, a papier-mache mannequin depicting a human figure.
The scene written by Firsov seems snatched from life. The artist skillfully conveys the relaxed naturalness of postures and movements.
The calm and affectionate strictness of the mother, the cunning and impatience of the little model, the selfless passion of the young painter are depicted with apt observation, characteristic of a true realist. The true fidelity of the characters creates that sense of poetic charm that permeates the whole picture.
In terms of artistic skill, Firsov's painting is one of the most perfect works of Russian painting of the 18th century. It is quite obvious that Firsov is a first-class artist, impeccably mastering the means of pictorial expression. His drawing is distinguished by freedom and precision; the space in which the scene unfolds is built with impeccable skill, no deliberate scheme is felt in the composition, it is natural and at the same time rhythmic. The coloring of the picture, with its pink-gray, silver scale, so well conveys the spiritual atmosphere of Firsov's heroes, is endowed with special poetic expressiveness.
In terms of its content, conception and pictorial form, "The Young Painter" does not find analogies in Russian art of the 18th century.
The development of genre painting in the 18th century proceeded at a slow pace. She had almost no demand among customers and did not enjoy the patronage of the Academy of Arts. Among Russian artists there were specialists in portraiture, in historical painting, there were decorators, and by the end of the century landscape painters appeared, but there was not a single master who would devote himself entirely to the everyday genre.
In addition to Firsov, a short list of Russian artists of the 18th century who worked in the field of everyday genre includes the portrait painter M. Shibanov with the paintings "Peasant Lunch" and "The Feast of the Wedding Contract" and the historical painter I. Ermenev, the author of an amazingly powerful watercolor series dedicated to image of Russian peasants.
Firsov with his "Young Painter" occupies chronologically the first place in this list. Almost no information has come down to us about the fate and further work of the artist. The name of this master appeared in the history of Russian art and took an honorable place in it, in fact, quite recently.
In the 19th century, "Young Painter" was considered the work of A. Losenko and even had his fake signature "A. Losenko 1756". True, already at the beginning of the 20th century, it was quite clear to art historians that the picture had nothing to do with the work of Losenko. But her authorship remained conjectural. Various assumptions were made, tending to the fact that the author of this picture should be sought among Western European masters. The name of the famous German engraver and painter D. Khodovetsky was even named. But in 1913, on the initiative of I. Grabar, Losenko's signature was removed and under it was found a genuine, written in French "I. Firsove".
Archival documents testify that the Russian artist Ivan Firsov, decorator of the imperial theaters, lived and worked in Paris in the mid-1760s. It can be assumed that The Young Painter was also painted in Paris: this is indicated, in particular, by the non-Russian appearance of the characters in the picture.
One more work, signed by Ivan Firsov, has been preserved - a decorative panel "Flowers and Fruits", dated 1754 and once adorned the Catherine Palace. But in this work, rough and student-like, it is difficult to find a resemblance to the virtuoso painting of The Young Painter. It is also known that in 1771 Firsov made a number of icons and decorative paintings that have not reached us. "Young painter" remains alone in the work of a remarkable Russian master. Apparently, Firsov was most gifted in precisely that field of art, which could find so little application in Russian reality in the second half of the 18th century.

Class: 7

introductory lesson Russian language on the topic “Adverb” in the 7th grade (based on the educational complex edited by M.M. Razumovskaya).

The purpose of the lesson: repeat what was learned in grades 1-5 about the adverb; create a target setting for students to study the entire topic;

• know: the general grammatical meaning of the adverb, the morphological features of the adverb, the syntactic function of adverbs in the sentence, the role of the adverb in speech and literary text;
• be able to: determine the grammatical meaning of the adverb, its syntactic role in the sentence, use adverbs in speech, compose a description-type text - a description of E. Volkov's autumn landscape “October”.

Lesson equipment: PowerPoint presentation “The adverb as a part of speech”, multimedia projector, music by P.I. the origin of the word “adverb”, applications.

Students' answers are given in parentheses.

During the classes

I. Creating a motivational attitude among students.

What parts of speech have we learned? (noun, verb, adjective, numeral).

Maybe these parts of speech are enough and it is not worth studying the adverb?

Read the sentences.

It was snowing and the sun was shining. It warms, so the snow does not melt.

Do the sentences make sense? What needs to be clarified? (In sentence 1, apparently, it is necessary to clarify the time (when the action took place), and in the second, to clarify how the sun warmed, i.e. here it is necessary to use adverbs)

Slide #3

For example:

Yesterday it was snowing and today the sun is shining. It warms weakly, so the snow doesn't melt.

Why are adverbs needed in speech? (make speech more accurate, give a more accurate idea of ​​the place, time and manner of action).

II. Determination of the purpose of the lesson by students.

An adverb is a part of speech. By what 3 signs do we characterize any part of speech, the so-called “three whales”? (general grammatical meaning, morphological features, syntactic role).

Based on this, determine the purpose of our lesson (students determine the purpose of the lesson on their own).

• what we must know: general grammatical meaning of the adverb, morphological features, syntactic role of the adverb;
• what should be able to: find adverbs in the text, determine morphological features and syntactic role.

We will determine what we will learn and what we will learn as a result of studying this topic, which sections we will study, we will determine the role of adverbs in the text, we will continue work on the development of speech - a description of the landscape and the human condition.

II. Updating of basic knowledge and skills.

1. It is necessary to find out the general grammatical meaning of the adverb.

How was it determined in the sentence that this is an adverb (yesterday, today, weakly)? (on the issue).

Read the phrases on the board and ask questions about the adverb.

We write questions together, put a number I.

So, what questions does the adverb answer? (the adverb answers the questions: where, when, where, from where, why, why and how, to what extent, to what extent).

2. What do you think, what was the original root in the word “adverb”? (-rech-).

An interesting history of this word will be introduced by a student who turns to the Etymological Dictionary.

Slides № 8,9,10

Application No. 1

From the history of the adverb

ADVERB is an old word.

The term ADVERB is already found in the Old Russian language. In this word, the root -SPEECH- stands out, which was previously ambiguous. The word "speech" once had, among other meanings, the meaning of "verb". Therefore, if we literally translate the term “adverb” into modern language, we get the word “arrogance”.

What is the relationship between adverb and verb? The main function of the adverb is to define the verb, that is, to designate a sign of action. This feature of the dialect was also noted by the ancient Romans, who called it adverbium. The word verbum means “verb”, and the prefix ad -PRI-, that is, the literal translation of this word would sound like “verb”.

So, scientists saw the main feature of the adverb in that it should be associated with the verb. So it is: an adverb with a verb performs the same function as an adjective with a noun, clarifying it, giving it clarity.

The outstanding linguist A. Peshkovsky said that “in connected speech, adverbs are most often used with a verb and an adjective.”

3. What part of speech is the adverb? (with a verb). What does the verb mean? (action of the subject) What will the adverb referring to the verb mean?

Slide #11

For example:

flare up slowly - how the main word is expressed (verb), what the verb means (action of the subject); what does the adverb attached to the verb mean? adverb + verb (sign of action) - entry in notebooks.

Scientists have calculated that adverbs denoting a sign of action make up 78% of all the meanings of adverbs. But adverbs are friends not only with verbs, but also with other parts of speech. What then will they mean? Let's analyze the examples.

• walking - what is the main word? (noun) What does the noun mean? (subject) What will the adverb mean? noun + adverb (sign of an object) There are few such adverbs: a soft-boiled egg, Turkish coffee, a waking dream, a house opposite, a sideways hat, etc.
• quite pleasant - how is the main word expressed? (adjective) What does an adjective mean? (sign of the subject) What will the adverb mean? adverb + adjective (sign of sign)
• too loud - what is the main word? (adverb) What does the adverb mean? Nar. + Nar. (sign of sign)

4. To check how well you have learned the general grammatical meaning of adverbs, the following work will help. You yourself will evaluate your knowledge and skills, check according to the model how you understood this topic.

Slide №12,13

Read the text. Write out phrases with adverbs - 1 option from 1 paragraph, 2 option from 2 paragraphs; indicate how the main word is expressed; determine the grammatical meaning of adverbs: “a sign of an action”, “a sign of a sign”, “a sign of an object”.

The Tale of Dandelions

The Sun rose one day and went for a walk in the spring sky. Looks: the earth is extraordinarily beautiful. And forests and meadows - all in an elegant dress of Spring. A real fairy tale! But something is missing. The Sun waved its golden sleeve - solar dust particles splashed onto the green earth, and yellow dandelion lights gleamed cheerfully in the meadows.

And the angry Winter was hiding nearby - in a dense forest. She peeked out of her hiding place, cast a sidelong glance. He looks, and small suns grow in the grass and burn dazzlingly brightly. Winter is angry. She waved her silver sleeve, covered the fires with snow, and left for the North. And dandelions began to flaunt in two outfits: in a yellow dress and a white fluffy fur coat.

5. Students check their answers against the board.

Slides #14,15

What were the difficulties in finding adverbs? (a fairy tale in reality, a glance from under the brows).

6. So, what is an adverb? What does it mean? What questions does it answer?

Slide #16

Notebook entry:

I. Denotes a sign of an action or a sign of a sign (rarely a sign of an object); where, when, where, from where, why, why and how, to what extent, to what extent).

II. Definition of morphological features of the adverb.

A comic poem by an eccentric in love who sent a message to his beloved girl will help to solve this problem.

Slide #17

It ended like this:
But one day I will come to you
Forever, forever, forever.
I'll take you along
far away far away, far away
We will settle down with you
Upstairs upstairs, upstairs.

Why is this message laughable? (The eccentric tried to change words that cannot be changed).

Try to determine the gender, number, case of the adverb. Make a morphological analysis of the adverb, why is there not and cannot be an ending? (does not change)

Conclusion (students do it themselves): the morphological feature of the adverb is its invariability, it has no gender, number, case, it does not decline and does not conjugate.

Writing on the board: II. Doesn't change.

Slide #18

III. Determining the syntactic role of the adverb, writing a sentence.

Autumn has come
dried flowers,
And look sad
Bare bushes.
A. Pleshcheev

Explain punctuation marks, find an adverb, determine the syntactic role.

III.-.-.-.-. the adverb is a circumstance, it can rarely be a definition: a waking dream, a look from under your brows.

Slide #19

IV. The final generalization for reference records according to the scheme. A monologue story on a linguistic theme about the dialect.

IV. Goal-setting on the whole topic, creating a target setting for students.

The topic “Adverb” is designed for 25 hours, what will we know and be able to do as a result of studying this topic? Let's open the table of contents in the textbook and see in the "Adverb" section what we have to study. Can we do without this knowledge?

Creation of problematic situations.

1) “Degrees of comparison of adverbs”.

Slide #20

From what topic do we know this concept? (“Adjective name”) Why is this topic necessary? (correctly form degrees of comparison of adverbs)

Correct: *Days run faster (faster or faster)

2) With the help of what morphemes are new words formed? (prefixes, suffixes)

Slide #21

How to write:

How to distinguish an adverb from a noun with a preposition, an adjective with a preposition?

Slide #22

d) move (to) a meeting - hope (to) meet a friend

(c) start to think - (c) start of the lesson

the day passed (in) an empty - (in) an empty room

see (in) distance - (in) distance of the sea

(Students will make mistakes and see that their previous knowledge is not enough for them and this topic is, of course, necessary for them).

The topic is difficult because a lot needs to be learned by heart, memorized, so we will constantly refer to the dictionary.

V. The situation of “pedagogization”.

Imagine that you are my colleagues. What forms of knowledge control after studying the sections would you offer students and why? (test - "Degrees of comparison of adverbs", vocabulary and selective dictations, at the end of the study of the topic - the final test, oral test and control dictation) - all these forms of control are included in the teacher's technological map.

VI. Compilation of a description type text - a description of the autumn landscape (work based on the painting by E. Volkov “October”).

It is important to write correctly, it is equally important to speak correctly, accurately, figuratively, and adverbs will help us with this.

Read the stanzas from the poems (handout). What is the role of adverbs? What paths are used by the authors? What is the meaning of adverbs? How does the action take place? How is mood conveyed?

Already the sky was breathing in autumn,
The sun shone less
The day was getting shorter
Forests mysterious canopy
She stripped naked with a sad noise.
Fog fell on the fields
Noisy geese caravan
Stretched to the south: approaching
Pretty boring time;
November was already at the yard.
A. Pushkin

A mournful wind drives
I flock to the edge of heaven.
Broken spruce groans,
The dark forest whispers dully.
N. Nekrasov

Like towers, Christmas trees darken,
And between the maples they turn blue
Here and there in the foliage through
Clearances in the sky, that windows.
I. Bunin

Flocks of birds fly away
Away, beyond the blue sea.
All the trees are shining
In multi-colored attire.

The sun laughs less
There is no incense in flowers.
Autumn will wake up soon
And cry awake.
K. Balmont

Remember and give examples from poems where there are adverbs. What is the role of adverbs in a text? (Adverbs make our speech more accurate and expressive, they “picture” the action, give a more accurate idea of ​​the place and time, the mode of action, help convey the poet’s worldview).

Slide #23

Work based on the painting by E. Volkov “October” to the music of P.I. Tchaikovsky “October” from the cycle “The Seasons”. Write a description of the picture using adverbs; convey the mood of the picture.

Teacher material

The best work of E. Volkov is the painting "October", written in 1883. The lyrical content is conveyed here more subtle than in the landscape "Autumn". Near and distant plans are perfectly combined in the composition, the main color range is well sustained. With special care, the artist worked out the foreground, occupied by a young birch grove. Through the bare branches of the trees, a view of the river and the distant forest opens up. The artist avoided the dryness and fragmentation of the drawing of trees and at the same time managed to make the fragile trunks of birches expressive and light, the brown earth strewn with dry autumn leaves.

E. Volkov in the painting “October” depicted a real October landscape. Autumn here has entered its final stage, when the leaves from most of the trees have already fallen off, and those that remain will no longer turn yellow ... A path is depicted in the foreground. No one has walked on it for a long time. Dirt mixed with withered yellow leaves everywhere. And right there in contrast - bright birch trees with bare branches. They seem to guard the entrance to this natural abode. In the background is a narrow river, on the banks of which stands a man in black clothes. The picture is made in light colors, but without bright shades, it exudes peace and tranquility. It seems that this is a slight hint that such harmony is possible only alone with oneself and nature. And only beautiful birch trees in the foreground guard the mutual understanding that nature has achieved with its main creation - man.

Reading works.

VII. Summary of the lesson. Generalization. Reflection. What new did you learn in the lesson? What did you experience difficulty?

VIII. Homework:

1) paragraph 12, prepare a story about the adverb with an example from a poem,

2) (optional) exercise No. 205 in the textbook or a miniature essay “Autumn Day” (“Autumn mood”) - you can use it in verse (use adverbs in your work)