Why? I realized this when L. S. Trapeznikova, the founder and head of the studio, decided to start a new program - teaching young children together with their parents.
My daughter studied in the studio for the fourth year, my son and I went to the “first class”. Our group was very funny - with a dozen children (4−6 years old) and almost as many mothers. Or dads - sometimes with two little boys the same age their father came - an Orthodox priest.
We were taught all that is necessary in art school. Drawing, painting, composition, arts and crafts, art history.
And it became clear to me why my daughter and her "fellow students" were always so drawn into the studio. We were lucky to meet a brilliant teacher!
I felt an incredible pleasure - both because I studied myself, and because my son was near - we could communicate in the process of common work. And most of all, because the adult half of her mind perfectly understood HOW we were taught. However, communicating with me outside classes, our teacher did not hide the details of the methodology.
She worked on the recommendations of Boris Mikhailovich Nemensky, a famous artist and teacher, but by her own method. Those interested can look at the lesson plan to evaluate the usefulness of the work of our teacher.
There was only one discount for the age of the little studio students: the tasks were designed for a short time, the intervals between the four lessons were large — the children in the breaks ran and jumped in the lobby under the supervision of the older students, while the mothers drank tea.
Technique of drawing just a few people were given. Imagine what a tricky job this is for hatching babies to hatch! Try on the task: divide A4 paper into 5 parts and shade, showing a tonal transition from light to dark.
Or: build a cube and perform the same hatching on the edges. The same with the pyramid, cone, ball, cylinder, plaster reliefs ...
Our children together with us assimilated not in words, but in practice, what is composition, compositional stain, how to place a drawing on a sheet, how to build a still life, revealing the correlation of objects.
And here is an example of the job. Before us opened the door of the cabinet, on the shelf of which there were two rows of various sizes, the shape and color of the bottle. We had to make a sketch, showing the differences in size and shape, to determine which of the objects is the highest-low, wide-narrow, light-dark ...
Watercolor painting for many was the most difficult! Adult studio students were afraid to admit the spread of paint, which was usual for watercolor, on a sheet (they worked on easels). In this regard, children felt more confident - but they were all the time pulling a brush into their mouths to remove excess water from it ...
Art history was read to us by art historians from the Rostov Kremlin Museum. Either with slides, or in an art gallery.
In the course of arts and crafts I became famous! My best were “curls”, leaves, berries and flowers of the mural, stylized as “Khokhloma”. Even my daughter was not allowed! But Rostov enamel I did not go - unlike children. Not for my character was a miniature painting ...
Children absorbed knowledge like a sponge water, their skills improved week after week. I felt for myself how freely I began to build still lifes, how confidently I make sketches ... I felt how these activities change me, giving me observation, an eye meter, a sense of composition.
For a normal artist is very important to exhibit. And our children participated in exhibitions, their work caused a positive assessment. In addition to general exhibitions, the works of my children were taken to the Christmas exhibition in Metz (France), one of my daughter’s works (as she felt sorry for her!) Was selected for the museum of the Russian Academy of Education ...
The year in which our general exhibition, the anniversary, in honor of the studio’s fifth anniversary, came in, was a crisis. The family of our teacher has long lived in two houses: a husband, a famous film artist, a teacher at VGIK, and an older daughter-student — in Moscow, herself with a younger daughter, a schoolgirl — in our city ... By the end of the autumn, after this very triumphal exhibition, our the teacher handed us over to other teachers and left for the capital.
By inertia my children went to the studio for some time. But they felt it was all over. The project for joint training, as it became clear almost immediately, was covered.
There are no replaceable people!
I maintain good relations with our teacher. The Moscow artistic intelligentsia have long chosen our city "for rest." So the Trapeznikov family, which has now completely surrendered to cinema, sometimes travels here - “to the dacha”. We meet, we rejoice, we are interested in family events ...
The final result of that “operation” in teaching us artistic creativity, as I understand it, is certainly positive. The fact that we, children and adults, have received from classes in the studio of L. S. Trapeznikova, cannot be taken away from us.
Some of the pupils have already chosen a profession for themselves in this profile, some have gone in other ways. But everyone was taught to see the world around, to understand it, they taught to enjoy creativity.