Complete drawing course - Sapozhnikov A. Complete drawing course. Sapozhnikov A.P.

Born in St. Petersburg, in the family of a military adviser. From the nobles.

Received home education.

6.1807 – determined by cadet in Engineering Corps .

1816 - appointed battalion treasurer.

1819-20 – commander of the Conductor Company of the Main PS. Captain of the Guard.

He attended classes at the Imperial Academy of Arts (IAH) as an “outside student” and studied in the studio of the famous historical painter V.K. Shebueva. In addition, he devoted a lot of strength and energy to the Society for the Encouragement of Artists, organized in 1820, was a member of its committee and was treasurer.

Engineer Colonel (1822).

1827 – headed the Drawing Department of His Highness Vel. Prince Mikhail Pavlovich.

« For services in supervising and maintaining pensioners of the Company» IAH recognized Sapozhnikov in 1830 honorary free associate IAH.

At the end of the 1830s. A book with engravings by Sapozhnikov “Drawings for a brief history of the Cavalry Guard of Her Imperial Majesty’s Imperial Regiment from 1724 to 1832” was published. An album of lithographs painted in watercolors was presented to Empress Alexandra Feodorovna, who became the chief of the regiment in 1826. The watercolors are enclosed in a beautiful mosaic binding made of dark green morocco, decorated with gold embossing and inlaid leather in 5 colors.

He developed and published a “Drawing Course” for students (1830-40), which enjoyed great success and was reprinted several times. The new method has found application not only in general education, but also in art schools. The success was explained by the fact that this manual clearly and simply revealed the laws of constructing three-dimensional space on a plane.

Actual State Councilor(1832).

From 1844 - held the position of " main observer of drawing and drafting in military educational institutions ", incl. and in Main PS. He held this position almost until his death.

For faithful service to the Fatherland, he was repeatedly awarded various state awards and encouragements, and was awarded the Order of St. Vladimir and St. Anna.

A.P. Sapozhnikov managed to establish his path of development in art, in some ways in touch with the IAH, in some ways different from it, associated with such new movements as the “natural school”. Possessing a natural sense of observation and a sense of humor, he strove to comprehend mastery, gaining fame as a talented artist in ever wider circles. His life and work are a vivid example of the revelation of an original talent and an enthusiastic nature that managed to leave a unique mark in a variety of fields; he is at the same time a military engineer, a painter, a graphic artist and a sculptor, as well as a publisher, collector, teacher, author of the first Russian textbook on theory and drawing practice for general education institutions.

Actual State Councilor, Honorary Free Communist of the Imp. Academy of Arts, amateur painter.

Genus. in 1795, d. in 1855 on March 17th. While serving in the engineering corps, he attended the drawing classes of the Imp. for quite a long time. Academician Arts

In 1830, he received control of Grand Duke Mikhail Pavlovich’s own drawing room, supervised its art publications, and in the same year, already an engineer-colonel, was elected to honorary free associates of the Academy of Arts.

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

In 1834, S. compiled an “Elementary Drawing Course” and donated it, along with samples (models and plasters), to the Academy for distribution to its students during exams.

Since 1844, he was the main mentor-observer of drawing and drawing in military educational institutions.

S. at one time was known as a designer of paintings for Krylov's fables (1834), costumes of the Russian guard and army. Taking an active part in all discoveries that facilitate the technical part of the arts, he was one of the first to use galvanoplasty 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 nations in lithographic drawings.” S. was also known for his concern for the development of the talents of artists entrusted to his leadership of the Society for the Encouragement of the Arts (of which he was treasurer from the very founding of this society).

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

St. Petersburg 1847 4) 92 outline pictures for Krylov’s fables.

St. Petersburg 1834 Ed. Smirdina. 5) 14 lithographed sheets for Olenin’s brochure: “An experience on clothing, weapons, morals, customs and the degree of enlightenment of the Slavs from the time of Trajan and the Russian princes to the invasion of the Tatars. First period.” Lithographed from paintings by F. G. Solntsev. 6) Engraving with a sketch, a full-length Amazon woman; there is a quiver behind his back, in his right hand there is an ax on which the figure is leaning.

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

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

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

For these services to art, the Academy of Art. recognized him in 1830 as her honorary. free a companion.

In the Academy Museum you can see an example of S.'s painting - the painting "Prometheus Chained to a Rock and Tormented by an Eagle." (Brockhaus) Sapozhnikov, Andrey Petrovich (Sapochnicof); D.S.S; painter-engraver; genus. 1795, d. March 17, 1855; in 1840 the first began to make copies from copper engraved boards by means of electroplating; from 1847 an honorary free fellow of the Academy of Arts; compiled a drawing course; On his order, 83 contour drawings from the New Testament were drawn by the artist Agin and engraved by K. Afanasyev.

His works: 1. Grifonage; 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 entire figure is chest-deep); a hand holding a drawing pen is visible on the left; higher up is a lion's muzzle with a grape leaf.

At the bottom it is marked in pencil: “Engraving Sapozhnikov.” Academician arts, book by Utkin. 2-54. 53 pictures, engraved almost with an outline, with strong vodka; with them is a book with Dahl’s text: “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"; sheet wide. 55-106. Atlas of Zoology, 52 pictures.

St. Petersburg, 1847. Sheet length. 107-198. 92 outline pictures for Krylov’s fables;

St. Petersburg, 1834; two volumes; ed. Smirdina. 199-212. 14 lithographed sheets for Olenin’s brochure: “Experience on clothing, weapons, morals, customs and the degree of enlightenment of the Glorious from the time of Trojan and the Russians to the invasion of the Tatars. First period.

Letters to Academician Buesching, or experience in compiling a complete course of History, Archeology and Ethnography for Students 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 the order made by Nicholas I to Basin: "to paint a picture of the Baptism of Rus'." 213. In the collection of E.N. Tevyashov there is a sheet in 4°, an engraving with an outline, a woman (Amazon) in full length, a quiver behind her back, in her right hand an ax on which the figure is leaning.

This sheet was purchased from Gennadi’s collection; Signature in pencil at the bottom corner: "Saposchnikow fec". E.N. Tevyashov also includes the following among Sapozhnikov’s works: 214-220. 7 pictures for the book: “Four fairy tales for my Nadinka.” St. Petersburg 1833 221-225. 5 pictures in the book: “There were also Tales of the Lugansk Cossack, 4 parts. St. Petersburg. 1839” and 226. Landscape with an obelisk and with a monogram made up of the letters A and S. (Rovinsky) Sapozhnikov, Andrey Petrovich d.s. p., honorary free associate I. A. Khud., amateur painter, writer, treasurer General. encouragement artists from the basics his; genus. 1795, † 17 Mar. 1855 (Polovtsov)

FULL COURSE
DRAWINGS
TEXTBOOK
GUIDELINES
FOR
MILITARY EDUCATIONAL INSTITUTIONS
DRAWING COURSE.
Second edition.
COMPLETED
A. Sapozhnshov
SANKTPBTBRVUR GT"
1849.
"Drawing Course" by A. Shoemaker is a gift for an artist of any direction. It carries the aroma 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 my children. The book helps to gain a deeper understanding of the visible world.
Alexander Abramov, artist, member of the Moscow Union of Artists and the International Federation of Artists UNESCO
The current gap in the art education system has a particularly negative impact on teaching drawing, which is the basis for all types of fine arts.
Reissue of the complete drawing course compiled by A. Sapozhnikov in IS49. - a good help for teachers and students, - this is a reference book for applicants and students of art schools and universities.
Lapin E.K., artist. Honored cultural worker. Director of DH /// L" /, Moscow
This book is extremely relevant precisely now, at the end of the 20th century, during 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 today, because in working with nature it develops not a passive-eye, superficial attitude to design and form, but forces the student to constantly initiate and train not only the hand and eye, but, above all, the head. This technique serves as an excellent foundation for the development of an artist, allowing you to make maximum use of the acquired knowledge for your further creative path, regardless of the “shop” restrictions and the chosen material.
? Valery Maloletkov.
$ ^ -> People's bad. not to Russia,
Gold medalist of the Russian Academy of Arts, Chairman / EK MIHPU im. (Troganova, member of the editorial board of the magazine "Young Artist"
L.P. SPOZHNIKOV
COMPLETE DRAWING COURSE
Edited by the editor-in-chief of the magazine “Art Council” V.II. Larionova
Fourth edition
Moscow Publisher with I in about "A JIБВ - В" Creative school "Master class" 2003
UDC 741/744 UBK 85.15n7 S19
Sapozhnikov L.P.
C19 full course: DRAWINGS
Edited by Larionov. M.: ALEV-V. 2003. - 4th ed. - 160 s.
We present to you one of the best Russian textbooks on fine arts, first published in the mid-19th century in St. Petersburg.
The book will be useful to art teachers in secondary schools, heads of art studios, teachers of drawing and 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. Mid-18th century.
UDC 741/744 BVK 85.15ya7
© Publishing house "ALEV". 1996.
© Publishing house "ALEV". 1997. ©Publishing house "ALEV". 1998.
ISBN 5-94025-045-0Publishing house "AJILB-B". 2003.4th ed.
DEAR READER!
Here 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 have been 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 clearly and correctly.”
It is safe to say that these words reflected the meaning of Sapozhnikov’s program, who set the achievement of the song in a new way1, teaching students during work not to mindlessly copy, but to think, reason, and analyze. The author for the first time pays serious attention to drawing from life, indicates the shortest way to construct an image of any object through simplifying its form in the initial stage.
The teacher conducting the lesson is recommended not so much to correct the student’s drawing as to explain the mistakes verbally. It is necessary that children, following their own understanding of the teacher’s verbal instructions, can correctly draw each new object.
To facilitate this task, a series of models made of wire and cardboard were used, which were usually located next to the nature and helped the student understand the features of its form, the phenomena of perspective and light and shade. So, when drawing a plaster head, Sapozhnikov suggests using a wire model.
The new method has found wide application not only in general education, but also in special art institutions. The success was explained by the fact that this manual clearly and simply revealed the laws of constructing three-dimensional space on a plane. The second volume, subsequently published, with materials on the study of the structure of the human body and interesting recommendations for composing paintings, constituted a complete course in drawing and became a reference book for beginning artists and lovers of fine art.
Positive aspects of L.I.’s technique Sapozhnikov have not lost their significance today, when there is an active revival of alternative educational structures.
1 >

In 1834, A.P. Sapozhnikov published the aforementioned “Drawing Course”. This was the first textbook for general education institutions compiled by a Russian artist. The textbook was then reprinted many times, its last edition being in 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. objects are clear and correct"2.

A.P. Sapozhnikov’s drawing course begins with an introduction to various lines, then introduces angles, after which he begins to master various geometric shapes. Before you start drawing three-dimensional objects.

Sapozhnikov proposes to demonstrate to students the laws of perspective using special models, again starting with lines, then moving on to various surfaces and, finally, to geometric bodies. Next comes an introduction to the laws of chiaroscuro, also by showing models. When drawing simple geometric bodies is well mastered, Sapozhnikov suggests moving on to drawing complex bodies: first, groups of geometric bodies are given, then the tasks are gradually complicated up to the point of drawing plaster heads. To show the structure of a human head, the author suggests using a wire model he specially made, which should always be next to the plaster head, in a similar rotation 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 life, and this is not just copying nature, but analyzing the form. Sapozhnikov set as his goal to teach those drawing from life to think, analyze, and reason.

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

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

P. Markov wrote: “What I. D. Preisler’s book was for our great-grandfathers and grandfathers, for our time the drawing courses of the late Sapozhnikov represent, with the talent of an inventive draftsman-artist combining enlightened concepts about art and its requirements... In the circles of Russian artists, Sapozhnikov’s works are extremely famous, and it is rare among those who attended classes at the Academy of Arts that he did not keep and does not keep the books he compiled as reference books, which have not yet been replaced by anything in Russian.”1

The method of teaching drawing proposed by Sapozhnikov revolutionized educational work. Before the publication of his book, copying from originals reigned in secondary schools. Drawing from life was almost never taught, and no one seriously thought about the method of revealing individual provisions of a realistic drawing.

Sapozhnikov pointed out that the best way to help a student correctly construct an image of the shape of an object is a method of simplifying it in the initial stage of drawing. First, the student must determine the geometric basis of the object’s shape, and then proceed to refinement. “One of these methods is the method of decomposing any of the visible objects into the simplest geometric figures, such as triangles, quadrangles and the like,” pointed out Sapozhnikov. “There is no animal, bird, insect, flower, plant, the shapes of which in general could not to be bound by said figures; There is almost no case where these figures would not serve as a framework for describing the final details of the contour of a given object.”1

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

Thus, Sapozhnikov’s models are used not for drawing from them, as we saw with the Dupuis brothers, but for revealing the laws of the structure of nature. They are located next to nature and help the student understand the structural features of the form. Thus, when drawing a plaster head, Sapozhnikov suggests using a wire model: “When placed next to and in the same rotation with the plaster head, which serves as a sample, it can explain the perspective change of the parts that make it up.”

All experts and critics in Russia gave the highest assessment 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 Dupuy brothers, it was indicated that their teaching method was “the newest and best,” but there was not a word about A.P. Sapozhnikov in the methodological literature. Meanwhile, the Sapozhnikov method had much in common with the Dupuis method and was published earlier (the Sapozhnikov method - in 1834, and the Dupuis method - in 1842).

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

Sapozhnikov also approached the methodology of teaching drawing in a new way. He set himself the task of teaching draftsmen to think, reason, and analyze while working. A series of models made of wire and cardboard served this purpose, which helped students understand the structure of the shape of an object, the phenomenon of perspective and the law of light and shadow.

Before the publication of Sapozhnikov’s manual, drawing instruction in all general educational institutions took place exclusively according to Preisler’s book, and complete copying from the originals reigned. No attention was paid to drawing from life.

Sapozhnikov pointed out that the best means of depicting the shape of an object is the method of simplifying it in the initial stage of drawing. At the beginning, the student must determine the geometric basis of the shape of the object, and then proceed to refinement. “One of these methods is the method of decomposing any of the visible objects into simple geometric shapes...”

According to Sapozhnikov, the teacher should not so much correct the student’s drawing as explain his mistake verbally.

Methodological models are used to achieve this goal. Sapozhikov’s models are not used for sketching, but for revealing the laws of nature’s structure. They are located next to nature and help the student understand the design features of the form. So, when drawing a plaster head, Sapozhnikov suggests using a wire model.

Positive aspects of A.P.’s teaching methods Sapozhnikov have not lost their significance in our time. The “Drawing Course” begins with an introduction to various lines, then angles, followed by the development of various shapes. Before starting to draw three-dimensional objects, Sapozhnikov suggests demonstrating to students the laws of perspective using special models, again starting with a line, then moving on to various surfaces and, finally, to geometric bodies.

Sapozhnikov also explained the laws of light distribution on the surface of the shape of objects using visual aids. These are white cardboards bent in various ways, as well as cardboards placed in different positions in relation to the incident light, used to observe light, shadow, penumbra, reflections and falling shadows. The illumination of round bodies is explained in exactly the same way as that of polyhedral ones. For this, the painter imagines only the edges, gradually decreasing in width until they merge into one surface.

The first part of the “Course...” ended with drawing a human head. The presentation of the material in the second part of the manual begins with an introduction to the dimensions of the human body and skeleton.

The chapter “On the main points of the human body” talks about the nodal points to which the draftsman needs to pay special attention, since they are the main landmarks, no matter what position the body is in.

In the chapter “Equilibrium of the Human Body,” Sapozhnikov introduces the draftsman to the laws of equilibrium of bodies and the rules for depicting the human figure in motion. The author clearly shows how to establish the balance axis: (it should run vertically from the jugular fossa to the middle of the heels...)

The section on drawing the human figure ends with methodological instructions for teachers, where the author emphasizes the importance of activating the student’s cognitive activity while drawing from life.

The “Drawing Course” ends with the section “Composing pictures,” in which the author introduces students to some of the rules of perspective necessary when creating paintings, followed by a presentation of the basics of composition. Here Sapozhnikov seems to anticipate the future expansion of the types of fine arts classes in drawing lessons in secondary schools.

Drawing competitions and pedagogical courses at the Imperial Academy of Arts.

Each educational institution could submit the best works of students to the competition (once every 3 years and some once every 6 years). At one exhibition the works of men's institutions were exhibited, at the second - women's, at the third - industrial. For these competitions, in order for the teaching system to be visible, it was required to submit 1. All drawings for the year by one student in each class, 2 - the works of the best students, 3 - an explanatory note about the conditions, content and methods of classes and information about the teacher. The submitted drawings were reviewed by the competition committee of the Academy of Arts, which awarded awards to both teachers and students. Pedagogical courses at the Imperial Academy of Arts.

In 1869, the academy organized Sunday drawing classes for those wishing to obtain the right to teach drawing, Vereshchagin observed, Shemiot. And in 1879, pedagogical courses were established to train drawing teachers. During the course there was a normal school where students underwent teaching practice. Not content with the work of the preparatory commission to develop instructions for these courses, the academy sent the main initiator and leader Shemiot abroad to study the methods of teaching drawing used there. At the end of the full course (two years), students took an exam. Certificates for the right to teach were divided into 3 types. 1) for secondary educational institutions, 2) for lower urban schools, 3) for primary schools. Those wishing to teach in secondary schools were required to be able to draw well from life a nude human figure, an interior, a still life, a human head. For the lower classes - a drawing of a plaster head, a drawing from life of a human figure and an interior. To obtain the right to teach in primary classes - drawing of an ornament, still life and linear drawing of a group of geometric bodies.