Complete drawing course. Sapozhnikov A.P.

Complete drawing course. Sapozhnikov A.P.

M.: 2003. - 160 p.

One of the best Russian textbooks on fine arts. Sapozhnikov's first textbook was published in St. Petersburg in 1834. From the preface: "... the purpose for which drawing classes are established in most educational institutions is not to make students artists, but to develop in them the ability to depict visible objects on paper clearly and correctly." These words reflected the meaning of Sapozhnikov's program, which set the achievement of the goal in a new way, accustoming pupils during work not to mindlessly copy, but to think, reason, analyze. The author for the first time pays serious attention to drawing from nature, points out the shortest way to construct an image of any object through simplifying its form at the initial stage. The book will be useful for teachers of fine arts in secondary schools, heads of art studios, teachers of drawing, composition at children's art schools and children's art schools, as well as parents who want to introduce their children to the world of beauty.

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CONTENT
1 VOLUME
FROM THE PUBLISHER 5
FOREWORD FOR TEACHER 7
INTRODUCTION 9
1 EXPLANATION OF DIFFERENT KINDS OF LINES 9
2 EQUALITY OF LINES AND DIVISION OF THEM INTO PART 11
3. ABOUT THE VERTICAL LINE. CROSSING LINES AND ORIGINING ANGLES 13
4. CONNECTING LINES AND COMPOSING FIGURES 16
5 DIVISION OF THE FIGURES 20
6. DRAWING LINEAR IMAGES 21
7. About the circle and the ellipse 22
8. DRAWING REGULAR POLYGONS 26
9. DRAWING CURVILINEAR FIGURES 28
10. EXPLAINING THE RULES OF PERSPECTIVE 28
11. DRAWING RECTIOLINEAR AND CURVILINEAR PLANES IN PERSPECTIVE 34
12. ABOUT LIGHT AND SHADOW 38
13. DRAWING LIGHT SURFACES 40
14.0 RIGHT BODIES 41
15. DRAWING RIGHT BODIES 45
16. DIVISION OF PERSPECTIVE PLANES ODD AND ODD EQUAL PARTS AND DRAWING DIFFERENT FIGURES ON PERSPECTIVE PLANES 46
17. DRAWING COMPLEX BODIES FROM LIFE 50
ILLUSTRATIONS FOR VOLUME 1 63
2 VOLUME
1. ABOUT THE SIZE OF THE HUMAN BODY 73
2. ABOUT THE MAIN POINTS OF THE HUMAN BODY 79
3. BALANCE OF THE HUMAN BODY 95
4. DRAWING HUMAN FIGURES FROM LIFE 114
5. SOME RULES OF PERSPECTIVE. REQUIRED FOR PICTURES 115
6. PAINTING 126
ILLUSTRATIONS FOR VOLUME 2 143

Acting state councilor, honorary free member Imp. Academy of Arts, amateur painter.

Genus. in 1795, d. in 1855 March 17th. Being in the service of the engineering corps, he attended for quite a long time the drawing classes of Imp. Acad. Arts.

In 1830, he received Grand Duke Mikhail Pavlovich's own drawing office under his management, supervised its art publications, and in the same year, already a colonel engineer, he was elected to honorary free members of the Academy of Arts.

In 1832 he presented the Academy with a print of Kuzen, representing the Last Judgment. In gratitude for this, the Academy presented him, as a gift, to choose for himself "one statue or two heads" from those in the Academy.

In 1834, Mr.. S. made "Introductory course of drawing" and donated it, along with samples (models and gypsum) of the Academy for distribution to its students in the exams.

From 1844, he was the chief mentor-observer of drafting and drawing in military educational institutions.

S. at one time was known as a draftsman of pictures for Krylov's fables (1834), costumes of the Russian guard and the army. Taking a lively part in all the discoveries that facilitate the technical part of the arts, he was one of the first to use electroforming to make copies from engraved boards. Together with F. I. Pryanishnikov, he published "The Old Testament in 86 essays, from drawings by Agin, engraved by K. Afanasyev" (1846) and "Costumes of all peoples in lithographic drawings." S. was also known for caring about the development of the talents of artists entrusted to his leadership of the Society for the Encouragement of Arts (whose treasurer he was from the very foundation of this society).

From the paintings of S. are known: "Prometheus" (in full growth and at the moment when, chained to a rock, he sees an eagle flying at him) - in academic. museum (1830). "Bacchanalia" - by F. I. Pryanishnikov and a copy from the painting "Battle of Poltava", located in the engineering department, where S. served. From his engravings are known: 1) Griffonage; a large board, in the middle, on which is the well-finished head of a goddess in a helmet. 2) 53 pictures, engraved almost like a sketch, with strong vodka; they have a book with Dahl's text: "The Adventures of Christian Khristianovich Violdamur." The composition of V. Lugansky. 3) Atlas of Zoology, 52 pictures.

SPb. 1847 4) 92 outline drawings for Krylov's fables.

SPb. 1834 ed. Smirdin. 5) 14 lithographed sheets for Olenin's brochure: "Experience on clothing, weapons, customs, customs and the degree of enlightenment of the Slavs from the time of Trajan and the Russian princes to the invasion of the Tatars. The first period." Lithographed from paintings by F. G. Solntsev. 6) Engraving with a sketch, an Amazon woman, full-length; behind his back is a quiver, in his right hand is an ax on which the figure leans.

Archive Imp. Acad. Hood., Case No. 155 (1830), No. 65 (1834), No. 91 (1847). - "Collection of mat. for the history of Acad. Khud.", vols. II-III. - Encyclopedic Dictionaries of Gerbel and Toll. - "Russian Archive", 1892, XI, 312. - Rovinsky, "Dictionary of Russian Engravers". E. T. (Polovtsov) Sapozhnikov, Andrei Petrovich - amateur painter (1795-1855). Having been promoted to officer in 1811, he served after that in the engineering department in various positions until 1844 and then was appointed chief mentor-observer of drawing and drawing in military educational institutions.

Having a thorough acquaintance with painting, for the study of which he attended classes at the Academy of Arts, S. was engaged in his spare time writing historical paintings and portraits.

He rendered an important service to art in various editions, especially in the manual for the study of drawing, which remains to this day the best of the textbooks on this part. From the Society for the Encouragement of Artists, in which S. was one of the most active members, he was entrusted with supervision of the pensioners of this institution, and many artists who were formed with the support of society owed their care and attention to their development.

For these services to art, the Academy of Art. recognized him in 1830 as her honorary. voln. accomplice.

In the Museum of the Academy you can see a sample of painting by S. - the painting "Prometheus chained to a rock and tormented by an eagle." (Brockhaus) Sapozhnikov, Andrei Petrovich (Sapochnicof); D.S.S; painter-engraver; genus. 1795, mind. March 17, 1855; in 1840 the first began to make copies from engraved copper plates by means of electroforming; since 1847 honorary free member of the Academy of Arts; made a drawing course; by his order, 83 contour drawings from the New Testament were drawn by the artist Agin and engraved by K. Afanasyev.

His works: 1. Doodle; a large board (6.4 x 5.11), in the middle of which is a well-finished head of a goddess in a helmet (the whole figure is chest-deep); on the left is a hand holding a drawing pen; higher is a lion's muzzle with a grape leaf.

At the bottom it is marked with a pencil: "Ev. Sapozhnikov". Acad. arts, Utkin's book. 2-54. 53 pictures, engraved almost like a sketch, with strong vodka; with them a book with the text of Dahl: "The Adventures of Christian Khristianovich Violdamur and his arshet"; composition by V. Lugansky.

With an album of paintings on fifty-three sheets, drawn by a famous artist... St. Petersburg. 1844"; wide sheet. 55-106. Atlas of Zoology, 52 pictures.

SPb., 1847. On a sheet, in length. 107-198. 92 contour pictures for Krylov's fables;

St. Petersburg, 1834; two volumes; ed. Smirdin. 199-212. 14 lithographed sheets for Olenin's brochure: "Experience on clothing, weapons, manners, customs and the degree of enlightenment Glorious from the time of the Trojan and the Russians to the invasion of the Tatars. The first period.

Letters to Mr. Academician Büsching, or experience in compiling a complete course of History, Archeology and Ethnography for the Pupils of the St. Petersburg Academy of Arts; 70 numbered and 1 unnumbered pages" (Ostroglazov, Russian Archive; 1892. November. 312). This book was written by Olenin on the occasion of an order made by Nicholas I to Basin: "to paint a picture of the Baptism of Russia." 213. In the collection of E.N. Tevyashov there is a sheet at 4°, an engraving in sketch, a woman (Amazon) is full-length, behind her back is a quiver, in her right hand is an ax on which the figure leans.

This sheet was bought from the collection of Gennadi; signed in pencil at the bottom in the corner: "Saposchnikow fec". E.N. Tevyashov refers to the works of Sapozhnikov the following: 214-220. 7 pictures for the book: "Four tales of my Nadinka". SPb. 1833 pp. 221-225. 5 pictures in the book: "There were tales of the Cossack of Lugansk 4 hours St. Petersburg. 1839" and 226. Landscape with an obelisk and a monogram composed of the letters A and C. (Rovinsky) Sapozhnikov, Andrey Petrovich d. s., honorary free community member I. A. Khud., amateur painter, writer, treasurer General. encourage. artists from the basics. his; genus. 1795, † 17 Mar. 1855 (Polovtsov)

"Drawing", as an academic subject, begins its history in 1804, although, strictly speaking, in some educational institutions, drawing classes were conducted earlier. So, in the cadet corps they were introduced from 1732, in the gymnasiums at the St. Petersburg Academy of Sciences, Moscow and Kazan universities - from the middle of the 18th century. However, in the cadet corps, these classes were part of the military training of pupils, and the named gymnasiums had not yet become a type of educational institution, each of them worked according to its own curriculum.

Time since the beginning of the nineteenth century. until his 60s, it was characterized by the disintegration of the feudal-serf system in Russia and, although slowly, but by the development of the capitalist way of life. The need for reforms was already felt at the beginning of the reign of Alexander I. Various commissions developed reform projects, including those in the field of public education.

According to the "Charter of Educational Institutions" approved by the tsar (1804), parish and district schools and gymnasiums were created. The curricula of these educational institutions (except parochial schools) provided for the teaching of drawing. In two-year county schools, it was taught in both classes, for which 4 lessons per week were allocated in each. In the gymnasiums, which had a four-year course, drawing was allotted in all classes for the first two-hour lesson per week; for classes, students united: the first class with the second, the third - with the fourth. In terms of content and methods, drawing classes at that time did not differ from teaching in the lower grades of an art school, where the main emphasis in teaching methods of fine arts was based on copying (it is known that children 8-9 years old entered the school at the Academy of Arts). The methodological basis for copying was the book by I. Preisler, published in Russian translation in 1795, "Basic rules or a brief guide to drawing art.

According to Preisler's book, drawing students were first introduced to drawing straight, curved lines. The students drew vases and simple curvilinear ornaments from engravings. Then parts of the human body were drawn from the engravings, and the correctness of the drawing was checked by means of vertical and horizontal lines. Finally, also from the samples, a whole human figure was drawn.

Thus, training in the copying system consisted in redrawing samples - engravings, called "originals" in training. They depicted ornaments, architectural details, antique sculptures or parts thereof.

The essence of a new understanding of the goals and objectives of drawing in a general education school was determined by the outstanding Russian methodologist of the first half of the 19th century. A.P. Sapozhnikov as follows: "The goal ... is to develop the ability to depict visible objects on paper clearly and correctly, so that, if necessary, pupils can easily draw from nature a useful machine, a necessary tool, a curious view of the terrain or another subject ... Moreover, the ability to draw helps to judge more correctly about the fine arts, which bring the noblest pleasure to an educated person.

Along with the realization of the special tasks of drawing as a school subject, the emerging Russian pedagogy began to search for ways to change the content and methods of teaching drawing. They led to the emergence of a new system of education, which already in the 30s of the XIX century. was thoroughly developed by the same A.P. Sapozhnikov. Outwardly, it differed little from the system that was proposed somewhat earlier by Pestalozzi at the beginning of the 19th century, in the West. This sometimes gave reason to qualify the work of A.P. Sapozhnikov as a simple borrowing of the Pestalozzi system. In fact, the question of the relationship between the works of one and the other cannot be so simply resolved.

A.P. Sapozhnikov really knew and highly appreciated Pestalozzi's views on teaching drawing, as evidenced by his review: "Pestalozzi and Lancaster will remain true benefactors of youth, facilitating the means of learning: and although the method of the first will be abandoned, but no less than that, the direction, they indicated has borne fruit." Based on Pestalozzi's ideas about replacing copying from originals by drawing geometric figures and bodies, Sapozhnikov, however, creatively reworked his system, changing its direction. Unlike Pestalozzi, Sapozhnikov proceeded from the specifics of drawing from nature. For him, the image of geometric figures was a means of teaching children visual skills, the use of which is useful in various human activities. The practical orientation of education also determined the nature of the methodology developed by Sapozhnikov for observing the phenomena of perspective by students; which he reinforced with the image of original models for drawing from life and demonstrating in the lessons.

The course of drawing geometric shapes was conceived by Sapozhnikov as a preparation for drawing objects of the surrounding reality. The transition to drawing these objects was the depiction of combinations of geometric bodies in the form of houses, towers, stairs, etc.

In developing teaching methods, Sapozhnikov proceeded from maintaining a close connection between the development of the student's visual perception and arming him with the necessary knowledge and practical skills. So, speaking about the study of perspective, he pointed out: “The study of the rules of perspective, according to the method also accepted everywhere, based on a drawing without nature, is too long, confusing and cannot be taught in boarding schools and schools ... Sapozhnikov developed a harmonious sequence of teaching drawing , which determined the order of passing the educational material as follows:

1. Drawing lines.

2. Drawing correct rectilinear figures.

3. Drawing regular curvilinear figures.

4. Drawing planes that go into depth (first, flat rectangular shapes were drawn, then a circle).

5. Drawing geometric bodies bounded by planes - a cube, a prism, a pyramid.

6. Drawing a cylinder, cone, ball.

7. Drawing combinations of geometric bodies, composed in such a way that they resemble objects of reality (see tab. 3).

8. Mastering the technique of chiaroscuro.

The new system for teaching drawing, developed by A.P. Sapozhnikov, made it possible to consistently teach drawing, isolating learning tasks and making full use of the classroom form of classes. In the 30s of the XIX century. it was the most advanced system of teaching drawing not only in Russia, but also in the West, where the combination of copying and geometric systems dominated in the works of students and followers of Pestalozzi.

FULL COURSE
DRAWINGS
TEXTBOOK
GUIDES
FOR
MILITARY TRAINING MANAGER.
DRAWING COURSE.
Second edition.
COMPOSITION
A. Sapozhnshov
SANKTPBTBRVUR GT"
1849.
"Drawing Course" by A. Sapozhnik is a gift for an artist of any direction. It carries the flavor of the classical Russian realistic school of the last century, encourages reflection and meditation, and helps to deepen one's knowledge. Laconic and precise language of presentation reveals the secrets of mastery. I don’t want to show it to my friends, but first of all, of course, to the children. The book helps a deeper understanding of the visible world.
Alexander Abramov, artist, member of the Moscow Union of Artists and the UNESCO International Federation of Artists
The current gap in the system of art education has a particularly negative effect on teaching drawing, which is the basis for all types of fine arts.
Reprint of the complete drawing course compiled by A. Sapozhnikov in IS49. - a good help to the teacher and student, - this is a reference book for applicants and students of art schools and universities.
Lapin E.K., artist. Honored Worker of Culture. Director of Household /// L" /, Moscow
This book is extremely topical right now, at the end of the 20th century, in the period of "erosion" of moral, aesthetic and professional criteria, without which the formation of Russian national culture is impossible. The pedagogical method of A. (apozhnikova is especially important now, because in working with nature it does not develop a passive-eye, superficial attitude to construction and form, but forces the student to constantly initiate and train not only the hand and eye, but, above all, the head. Such a technique serves as an excellent foundation for the development of an artist, allows you to make the most of the knowledge gained for your further creative path, regardless of the "shop" restrictions and the chosen material.
? Valery Maloletkov.
$ ^ -> Folk thin. not to Russia,
Gold medalist of the Russian Academy of Arts, Chairman / EC MIKhPU them. (troganova, member of the editorial board of the magazine "Young Artist
L.P. SAPozhnikov
COMPLETE DRAWING COURSE
Under the editorship of the editor-in-chief of the magazine "Artistic Council" V.II. Larionova
Fourth Edition
Moscow Publisher s I v o "A JIBV - V" Creative School "Master Class" 2003
UDC 741/744 LBC 85.15n7 S19
Sapozhnikov L.P.
С19 full course: DRAWINGS
Edited by Larionov. M.: ALEV-V. 2003. - 4th ed. - 160 s.
We present you one of the best Russian textbooks on fine arts, first published in the middle of the 19th century in St. Petersburg.
The book will be useful for fine art teachers in secondary schools, heads of art studios, teachers of drawing, composition in children's art schools and children's art schools. as well as parents who want to introduce their children to the world of beauty.
On the cover: I. Firsov. Young artist.
Canvas, oil. Middle of the 18th century.
UDC 741/744 BVK 85.15ya7
© Publishing house "ALEV". 1996.
© Publishing house "ALEV". 1997. © "ALEV" Publishing House. 1998.
ISBN 5-94025-045-0Publishing house "AJILB-B". 2003.4th ed.
DEAR READER!
Before you is a unique Russian drawing textbook by A.P. Sapozhnikov, first published in St. Petersburg in 1834.
In the preface we read: “... the purpose for which drawing classes are established in most educational institutions is not to make students artists, but to develop in them the ability to depict visible objects on paper clearly and correctly.”
It can be said with certainty that these words reflected the meaning of Sapozhnikov's program, who set the achievement of singing in a new way1, accustoming pupils during work not to mindlessly copy, but to think, reason, analyze. The author for the first time pays serious attention to drawing from nature, points out the shortest way to construct an image of any object through simplifying its form at the initial stage.
The teacher leading the lesson is recommended not so much to correct the student's drawing as to explain the errors verbally. It is necessary that the children, following their own understanding of the oral instructions of the teacher, could correctly draw each new object.
To facilitate this task, a series of models made of wire and cardboard served, which were usually located next to nature and helped the student to understand the features of its form, the phenomena of perspective and chiaroscuro. So, when drawing a plaster head, Sapozhnikov suggests using a wire model.
The new method has found the widest application not only in general education, but also in special art institutions. The success was due to the fact that this manual clearly and simply revealed the laws of constructing three-dimensional space on a plane. The second volume, published subsequently, with materials on the study of the structure of the human body and curious recommendations for composing paintings, constituted a complete course of drawing and a flock of handbooks for beginner artists and fine art lovers.
Positive aspects of L.I. Sapozhnikov have not lost their significance even today, when there is an active revival of alternative educational structures.
1 >

In 1834, A.P. Sapozhnikov published the aforementioned “Drawing Course”. It was the first textbook for general educational institutions compiled by a Russian artist. The textbook was then reprinted many times, its last edition being 1889.

In the preface to the 1879 edition, the author wrote: “... the purpose for which drawing classes are established in most educational institutions is not to make artists out of students, but to develop in them the ability to depict visible objects on paper. things are clear and correct.

A. P. Sapozhnikov’s drawing course begins with an acquaintance with various lines, then he introduces you to angles, after which he masters various geometric shapes. Before you start drawing volumetric objects.

Sapozhnikov proposes to demonstrate to students with the help of special models the laws of perspective, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an acquaintance with the laws of chiaroscuro, also with the help of showing models. When the drawing of simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks gradually increase in complexity up to drawing plaster heads. To show the construction of the human head, the author proposes to use a wire model specially made by him, which should always be near the plaster head, in a similar turn and position. The second part of the "Drawing Course" is devoted to drawing the human figure, as well as some rules of composition.

The value of Sapozhnikov's method lies in the fact that it is based on drawing from nature, and this is not just a copy of nature, but an analysis of the form. Sapozhnikov set as his goal to teach those who draw from life to think, analyze, reason.

This goal was served by a series of methodological models made of wire and cardboard, which helped students to understand more clearly the structure of the forms of objects, their perspective modification and the main design. To demonstrate the phenomena of perspective, Sapozhnikov suggested using special stands and models, and also special models to demonstrate the laws of chiaroscuro.

The new method proposed by Sapozhnikov found the widest application not only in general education schools, but also in special art schools. The success of the new teaching method was explained by the fact that it clearly and simply revealed the most complex provisions related to the construction of a three-dimensional image on a plane.

P. Markov wrote: “What the book of I. D. Preisler was for our great-grandfathers and grandfathers, for our time is the drawing courses of the late Sapozhnikov, with the talent of an inventive draftsman-artist who combined enlightened concepts about art and its requirements ... In the circles of Russian artists, the works of Sapozhnikov are extremely famous, and a rare person who attended the classes of the Academy of Arts did not keep and does not keep the books compiled by him as desktop books, which have not yet been replaced by anything in Russian.

The method of teaching drawing, proposed by Sapozhnikov, made a revolution in educational work. Before the release of his book, copying from originals reigned in general educational institutions. Drawing from life was almost never taught, and no one seriously thought about the method of revealing certain provisions of a realistic drawing.

Sapozhnikov pointed out that the best way to help a student correctly build an image of the shape of an object is to simplify it at the initial stage of drawing. First, the student must determine the geometric basis of the shape of the object, and then move on to refinement. “One of these methods is the method of decomposing any of the visible objects into the simplest geometric shapes, such as triangles, quadrangles, and the like,” Sapozhnikov pointed out. “There is no animal, bird, insect, flower, plant, the forms of which, in general, could not to be chained by said figures; there is almost no case where these figures would not serve as a skeleton for describing near the last details of the outline of a given object.

Sapozhnikov recommends that the teacher not so much correct the student's drawing as explain his mistakes verbally. It is necessary that the students, following the oral instructions and answering the guiding questions of the teacher, by their own consideration, could correctly draw each of the new models put before them. Methodological models serve to achieve this goal.

Thus, Sapozhnikov's models are used not to draw from them, as we saw with the Dupuis brothers, but to reveal the patterns of the structure of nature. They are close to nature and help the student to understand the structural features of the form. So, when drawing a plaster head, Sapozhnikov suggests using a wire model: “Being placed next to and in the same turn with a plaster head serving as a model, it can explain the perspective change in the parts that make it up.”

All experts and critics in Russia gave the highest rating to Sapozhnikov's method, but his name was not properly noted in the methodological literature. Much was said and written about the method of the Dupuis brothers, it was indicated that their method of teaching was “the latest and the best”, but there was not a word about A.P. Sapozhnikov in the methodological literature. Meanwhile, Sapozhnikov's method had much in common with Dupuy's method and was published earlier (Sapozhnikov's method in 1834, and Dupuy's method in 1842).

The positive aspects of A.P. Sapozhnikov’s teaching methods have not lost their significance in our time. So, in the book of A. M. Solovyov, G. B. Smirnov and E. S. Alekseeva "Educational drawing" (M., 1953) there are many illustrations from Sapozhnikov's "Drawing Course".