Abstract:
У статті розглянуто деякі аспекти досліджень М. Писанка стосовно графічного зображення руху, особливості його візуального сприйняття в структурі картинної площини, а також використання дзеркального відображення в роботі над композицією.
The matter of the graphic image of the motion, taking into account the laws of the picture plane, as well as the study of patterns of motion as one of the leading composition factor, especially in terms of creating and perceiving the artistic image, is extremely important for the instructional program of the academic drawing. The formula of the work involves the presence of students with a very specific knowledge and skills related to the properties of the picture plane, the nature and character of the motion within the composition, as well as
the patterns of its visual perception. The purpose of the article is an attempt to determine the main issues of graphic image of motion and the peculiarities of its visual perception in the structure of the picture plane, as well as to demonstrate the expediency of use a mirroring in work on the composition, mainly on the basis of research of the famous native artist-educator
Mykola Pysanko. The author collected his searches in the book “Motion, Space, and Time in the Figurative arts”. We can make a conclusion that the study of the influence of the basic laws of the picture plane, in particular the areas of its right and left sides, on the mode and contextual aspect of the motion in the middle of the picture field is a fundamental issue for the instruction of academic drawing. This predetermines the need for a broader coverage of theoretical issues of the graphic image of motion and its research using the mirroring.
This topic is relevant in terms of using the article's material as an auxiliary methodological basis for the instruction of vocational subjects to students of creative specialties. The action of the laws of the right and left sides of the picture plane reveals the internal pattern of the artist's concept. Knowledge and understanding of the nature of the sides of the picture field, as well as its connection with the mode and content aspect of the motion within the composition is important for students of any creative specialty.
