The article by A. V. Shchemelinsky introduces the basic rules for depicting nudity from a complex angle - one of the most challenging tasks in academic drawing at higher school of arts. The author examines every stage of work in depth: from choosing model’s position and creating a sketch to applying finishing touches and finalizing the overall form. The proposed methodological recommendations, taking into account the human anatomy in general and the individual proportions of the model in particular, are formulated on the basis of the author’s theoretical knowledge, as well as his analysis of works belonging to classical Western European and Russian art school traditions. The principles laid out in the article go back to the body of work and legacy of P. P. Chistyakov, teacher at the Imperial Academy of Arts and author of an innovative methodological framework. Furthermore, the presented ideas hinges upon the creative practice of the author himself and are, thus, substantiated by his teaching activities at the Academy of Watercolor and Fine Arts of Sergey Andriaka. In his article, A. V. Shchemelinsky proposes an optimal drawing technique, justifying his selection of artistic materials and pointing out the most common mistakes. Drawing a model from a challenging perspective develops volume-spatial perception of nature and ability to accurately portray and build volume. Therefore, one of the most critical tasks of a teaching artist is to instill in students an understanding of form through the lens of constructive and figurative plasticity, capacity to grasp constructive basis, to depict the plastic structure of an object on a level surface. Each professional artist, when creating works of easel painting and monumental art, along with multifigure compositions, should be able to correctly portray a model from various angles. The recommendations of the author can be beneficial to teachers and students of art educational institutions as part of the Academic Drawing Course and can be utilized specifically as a methodological guide to working with nudity. The article is illustrated with masterpieces of monumental and easel painting, their preparatory drawings, as well as samples of educational academic drawings.

The article focuses on A. N. Mokritsky, artist and teacher at the Moscow School of Painting, Sculpture and Architecture (MSPSA), who played a prominent role in the early formative years of Moscow school of arts in the 1850s and 1860s. As a well-educated art lover, Mokritsky taught such masters as V. G. Perov, I. M. Pryanishnikov, K. E. Makovsky, I. I. Shishkin. Notably, he had a particularly great influence on Shishkin that continued long after Shishkin’s move to St. Petersburg. The article shows Mokritsky as a competent and demanding teacher, whose years of hard work were aimed at strengthening the traditions of academic education and transferring the necessary professional knowledge to students. In the debates that engulfed the school teaching milieu from 1857 to 1858, Mokritsky, acting as the main opponent of S. K. Zaryanko, was not hesitant to express his opinion on the methods of teaching painting. By using the example of Mokritsky’s pedagogical views and aesthetic ideals, the author of the article assesses the academic method of teaching art in the late 1850s, as well as the prospects for its further development. In addition, an attempt was made to continue the study of the history of the Moscow School of Painting, Sculpture and Architecture, thereby deepening the understanding of the difficult period in the formation of the Moscow school of arts.

The article describes the method of creating a large format still life in the classical multi-layer watercolor technique without applying lead white paint. At the center of the study lies the impossibility of a simultaneous thorough development of all the elements of the picture when painting constantly changing and rapidly withering flowers from life. According to the author, this engenders the need for a step-by-step portrayal of individual inflorescences in a work entirely composed by its creator. By way of example, S. N. Andriyaka invokes a decorative ‘trellis’ made of blooming lilac branches illuminated by frontal light. In order to produce a full-fledged artistic image, one has to follow the core principles underlying the creation of a still life: sound arrangement of the compositional center, proper color and tone schemes, balance between the background and the depicted object. By outlining the step-by-step watercolor painting method, the author reveals an algorithm for the layerby-layer development of volumes and details, peculiarities behind color selection for the composition, interpretation of inflorescences and foliage. For illustration purposes, S. N. Andriyaka provides photographs of the stages of work, which enables one to use the given material as a visual manual for teaching multi-layer watercolor painting.