Self-talk manuscripts in the eyes of artists

As an unknown and selfless educator, we often have to prepare speeches, which is helpful to improve teachers' language expression ability. Then the question is coming, how to write the speech? The following is my own speech in the eyes of artists, compiled for you, for reference only, I hope it will help you.

I. teaching material analysis

1, teaching ideas

First, the basic concept of teaching

Textbooks mainly deal with the relationship between artists' self-identity and social environment, that is, how do artists view their career? Teachers can understand the relationship between the artist's self and social role through the historical perspective and the analysis of specific works of art. To some extent, there is a certain degree of contradiction between the artist's self and society. Society tries to assign artists a clear identity: craftsman, handyman, professional painter, artist; But artists often regard themselves as a complete "person" and wander between various identities. A painter or a sculptor is just an ordinary title and professional identity, which cannot reflect the personality characteristics of a specific artist. Artists may pay more attention to their own personality and personality. In the process of teaching, we can link this central clue with the analysis of art works, embody this clue layer by layer and implement it in the two "activity suggestions" provided by the teaching materials.

B. teaching material analysis

The works of art provided by the textbook can be divided into three groups, which reflect the different ways of artists expressing themselves: Lasker rock paintings and Egyptian tomb murals express themselves anonymously. These works are early, the artists' self-awareness is not sufficient, and the society does not give artists a high status, so they are not allowed to highlight themselves too obviously. Strictly speaking, at the time when these works were created, there was no "artist" in our present sense. In primitive times, the "artist" was actually a wizard, but in the Shang and Zhou Dynasties in ancient Egypt and China, the accurate identity of the "artist" was a craftsman or even a slave.

The second group of works is/kloc-self-portraits of some artists since the 4th century. This form of self-portrait accurately reflects the artist's understanding of himself and his role orientation. This is a historical background to be mentioned. No matter in the tradition of the West or China, professional painters or sculptors have no high social status. From a social point of view, in a sense, they are people who serve others and earn their living. Therefore, artists often don't want to see themselves as just a craftsman, but a person with a certain cultural mission. Several selfies in the textbook have already touched on this issue. We can see that, except artemisia gentileschi, the self-portraits of other painters are not used as painting tools to imply their identity. On the contrary, Diu Lei is like Christ, Pu Sang is like a nobleman, and Jin Nong is like a hermit, while Rembrandt describes himself as a real, simple, ordinary and flesh-and-blood citizen.

Gentileschi's self-portrait is a bit special, perhaps because she is a female painter. In fact, women's self-portraits at that time often painted themselves as ladies, not painters. Painting is a kind of cultural education for women. Gentileschi highlights her identity as a painter in her self-portraits, just to break through people's customary views and affirm that she is a self-reliant female painter, not a woman who shows off her "talent" by painting. In addition, according to the western traditional concept, all the arts, including painting, are controlled by nine "Muses", all of whom are women. Gentileschi borrowed some ideas to associate his painter status with the goddess "Muse".

In addition, Gentileschi and Kim use profile images, which also has some psychological implications. Generally speaking, the painter can communicate with the audience in the following images, while the profile image seems to indicate that the painter is more willing to go his own way, so his personality is more withdrawn and distinctive.

The third group of works are artists in creative or life scenes. Here, the artist's working environment also has a certain meaning. Velazquez's studio is in the palace. The dwarf, maid, little princess, king and queen in the mirror clearly show the essence of this place. The painter himself is a "court painter" who is responsible for recording these characters and events. Vermeer sat patiently in his small studio, drawing a girl with a musical instrument. Compared with Gong E, this is an ordinary place. The huge canvas in front of Velazquez's self-portrait shows that he recorded important events and magnificent scenes, while Vermeer's small canvas shows that he is more focused on the details of ordinary life.

Li's "Elegant Map of the West Garden" arranged the painter in the courtyard where the literati gathered. Painting here is not a means to exchange rewards and make a living, but a way for literati to socialize and send happiness. These painters are not professional painters in essence, but literati. Song Huizong was an emperor who loved literature and art. Painting as an emperor is different from ordinary painters. The researcher thinks that the man who plays the role of a Taoist fiddler in the Picture of Listening to the Qin is Song Huizong himself. Two officials next to him are listening respectfully to his piano. In the lower left corner, there is a picture of Song Huizong's "One's World". Although this painting is not his own handwriting, the emperor's attitude towards painting is obvious: he will spare no effort to support painting and express his political and ethical ideals with painting.

2. Teaching objectives

Understand the change of artists' social status and its relationship with cultural, economic and political factors; Understand the expression of the creator's self-consciousness in his works; Learn to associate specific visual schema and style characteristics with the artist's life and living environment, and look at works of art from a historical perspective.

3. Teaching emphases, difficulties and determination basis

Focus: the historical change of artists' social status; The relationship between self and society.

Difficulties: guide them to deeply understand the relationship between self and society.

4. Three-dimensional teaching objectives and their determination basis

Knowledge and skills: Students should learn how to analyze similar artistic phenomena and learn to draw inferences from others. Master the basic expression ways and methods of artistic appreciation language, express your feelings and thoughts, and form the basic quality of art.

Process and method: Students can participate in appreciation discussion in the form of individual or collective cooperation, enrich visual aesthetic experience and develop artistic appreciation ability.

Emotional attitude and values: students can experience the fun of art activities and gain lasting interest in art learning. Stimulate creative spirit, cultivate noble aesthetic sentiment and perfect personality.

5. Development and organic integration of curriculum resources.

First, the pictures in multimedia courseware are needed for teaching materials or courses. When making courseware, teachers can provide some characteristic self-portraits or works with portraits for students' reference, and learn some ways to shape and express their personalities. List and compare the contents of observation one by one, guide students to make observation and analysis scientific and systematic, and use the knowledge introduced in textbooks to analyze the comparison results.

B before class, please find some information about portraits (painting and photography) from the internet or books, and then share it with your classmates in class.

Second, study the guidance of law.

Analysis of academic situation: High school students already have certain cognitive ability and judgment ability. However, due to the limitation of high school students' social consciousness and life experience, they may not understand the theme of this course deeply enough. In addition, high school students are under great academic pressure and have no strong interest in learning the art appreciation module of the art discipline. Therefore, teachers should try diversified teaching methods to stimulate students' interest. Before class, let the students find some information or stories about this and share them with their classmates in class.

Guidance of psychological adjustment method: give full play to students' initiative and enthusiasm, encourage them to find information, boldly imagine and express their views, and understand the artistic language and formal characteristics of artistic works.

The method guidance of knowledge construction: starting with students' imagination of artists' works and life, combined with the analysis of specific works of art, gradually guide students to understand the main ideas and contents of teaching materials. On the one hand, students' imagination is brought into play, on the other hand, students' understanding of the relationship between artist-self and society is deepened through the explanation of historical background. Appropriate use of heuristic teaching and mutual discussion to promote students' thinking.

Third, teaching methods and means

The choice and basis of teaching methods: mainly adopt "comparative appreciation method", questioning method, discussion method and observation method. Appropriate use of heuristic teaching and mutual discussion to promote students' thinking.

Theoretical basis: It is pointed out in the Outline of Basic Education Curriculum Reform that students should be encouraged to actively participate, be willing to explore and be diligent in doing things, and cultivate their abilities of collecting and processing information, acquiring new knowledge, analyzing and solving problems, and communicating and cooperating.

Teaching with the help of multimedia courseware, pictures and other materials.

Fourth, the teaching procedure.

(A) the creation of problem situations, stimulate interest and induce inquiry.

1. Courseware shows a group of works (showing the masterpieces of elephants). Tell me what's in the picture. How do you feel? These paintings look ordinary, but if you know who the author is, everyone will be surprised!

2. Tell the students that it is the work of the Asian elephant "Paya", and it takes 10 ~ 15 minutes to complete a painting. Each picture costs 250 pounds (equivalent to about 4,500 yuan). Even more amazing, the British Art Museum also exhibited a self-portrait of an elephant.

3. The courseware shows the photos and self-portraits painted by the "Elephant Artist". Why do you think the elephant artist "Paya" is great? (Very well painted! I can know myself and express myself, so I can be called an artist.

Summary: Self-portrait is an important way for artists to know and show themselves. The appearance of self-portrait is the expression of the artist's self-awareness awakening. Show the rock paintings and tomb murals in the teaching materials with courseware, and the teacher will shift the students' attention from the self-portrait of the elephant to the cognition of the painter by telling them. )

(2) Appreciation and analysis

1. What kind of person can be called an artist (painter)?

I can paint, my works can express my thoughts, and I have superb painting skills ...

Summary: In different times, the social evaluation of artists is different. What does a painter think of himself? We can learn about the painter not only through his biography, but also through his self-portrait.

2. What can we see from the artist's self-portrait? (Students look at the works in the textbook and answer)

Summary: ① their views on their identity, social status and life;

② Look at their artistic attitude and style.

The artist's self-portrait is like a mirror, reflecting himself in the artist's eyes.

1. Show the self-portraits of four artists with courseware.

(Diu Lei, Gentileschi, Jin Nong, Van Gogh)

Do you know these artists? Is it front or side? Do you know the background of these artists? Which period do they belong to?

B, what do you see from these selfies?

C. Does the picture imply that the creator himself is a painter? How do you hint at it? If there is no such hint, why?

According to the students' answers, the teacher will give necessary explanations. )

2. Complete "Thinking and Communication" page 665438 +0: three self-portraits of Rembrandt. What kind of mood do these selfies reflect respectively?

Rembrandt suffered a series of misfortunes after middle age, and in his later years he was reduced to living on welfare. The self-portrait also shows a strong sense of vicissitudes. )

(3) Collective discussion

A comparative analysis of Gong E and Studio.

1. What's the difference between the environment or the place where the painter lives?

2. In what way did the painter himself appear on the screen?

3. Can you see the painter's view on his career?

(4) Group discussion

1. The objects of discussion and analysis are: listening to the piano and the elegant pictures of the West Garden.

2, thinking:

A, what kind of scene is it painted?

B. What is the identity of the author in the picture?

(Teacher explained: In ancient China, pure painters had a low status and were called "craftsmen"; However, literati and painters have a high status. )

(5) Summary

In different historical periods, artists have different social status and different views on themselves. For example, Song Huizong is a painter, but he is also an emperor. This painting not only shows his interest in painting, but also shows his supreme position.

Activity exchange:

After class, complete "activity suggestion 1", and the teacher selects some works for comments and exchanges.