Refer to Figure 61 This Art Work Is an Example of aN Painting

Practice of applying paint, paint, color or other medium to a surface

An artistic delineation of a group of rhinos was made in the Chauvet Cave thirty,000 to 32,000 years agone.

Painting is the do of applying pigment, pigment, colour or other medium to a solid surface (called the "matrix" or "support").^[ane] The medium is ordinarily applied to the base with a brush, but other implements, such every bit knives, sponges, and airbrushes, tin can exist used.

In art, the term painting describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces every bit walls, paper, canvas, forest, drinking glass, lacquer, pottery, leaf, copper and concrete, and the painting may contain multiple other materials, including sand, clay, paper, plaster, gilt leaf, and even whole objects.

Painting is an important form in the visual arts, bringing in elements such every bit drawing, composition, gesture (every bit in gestural painting), narration (as in narrative art), and abstraction (every bit in abstract art).^[2] Paintings can be naturalistic and representational (equally in still life and landscape painting), photographic, abstract, narrative, symbolistic (every bit in Symbolist fine art), emotive (as in Expressionism) or political in nature (as in Artivism).

A portion of the history of painting in both Eastern and Western art is dominated by religious art. Examples of this kind of painting range from artwork depicting mythological figures on pottery, to Biblical scenes on the Sistine Chapel ceiling, to scenes from the life of Buddha (or other images of Eastern religious origin).

History [edit]

The oldest known figurative painting is a depiction of a bull that was discovered in the Lubang Jeriji Saléh cave in Indonesia. It was painted 40,000 - 52,000 years ago or earlier.

The oldest known paintings are approximately 40,000 years old, found in both the Franco-Cantabrian region in western Europe, and in the caves in the district of Maros (Sulawesi, Indonesia). In November 2018, however, scientists reported the discovery of the then-oldest known figurative fine art painting, over 40,000 (perhaps as old equally 52,000) years old, of an unknown animal, in the cave of Lubang Jeriji Saléh on the Indonesian isle of Kalimantan (Kalimantan).^{[3] [4]} In Dec 2019, figurative cavern paintings depicting pig hunting in the Maros-Pangkep karst in Sulawesi were estimated to be even older, at at least 43,900 years old. The finding was noted to be "the oldest pictorial record of storytelling and the earliest figurative artwork in the earth".^{[v] [6]} More than recently, in 2021, cave art of a hog found in an Indonesian isle, and dated to over 45,500 years, has been reported.^{[seven] [8]} Notwithstanding, the earliest evidence of the act of painting has been discovered in ii rock-shelters in Arnhem Land, in northern Australia. In the lowest layer of material at these sites, there are used pieces of ochre estimated to be 60,000 years erstwhile. Archaeologists have also found a fragment of stone painting preserved in a limestone stone-shelter in the Kimberley region of Due north-Western Australia, that is dated 40,000 years former.^[ix] At that place are examples of cave paintings all over the globe—in Republic of indonesia, France, Kingdom of spain, Portugal, Italia, China,Republic of india, Australia, United mexican states,^[10] etc. In Western cultures, oil painting and watercolor painting have rich and complex traditions in mode and subject matter. In the East, ink and color ink historically predominated the choice of media, with equally rich and complex traditions.

The invention of photography had a major impact on painting. In the decades later the outset photograph was produced in 1829, photographic processes improved and became more widely practiced, depriving painting of much of its historic purpose to provide an authentic tape of the observable globe. A serial of art movements in the late 19th and early 20th centuries—notably Impressionism, Mail-Impressionism, Fauvism, Expressionism, Cubism, and Dadaism—challenged the Renaissance view of the world. Eastern and African painting, however, continued a long history of stylization and did not undergo an equivalent transformation at the aforementioned fourth dimension.^{[ citation needed ]}

Mod and Contemporary art has moved abroad from the historic value of arts and crafts and documentation in favour of concept. This has not deterred the majority of living painters from standing to practice painting either every bit a whole or part of their work. The vitality and versatility of painting in the 21st century defy the previous "declarations" of its demise. In an epoch characterized by the idea of pluralism, there is no consensus as to a representative style of the age. Artists go on to make important works of art in a wide diverseness of styles and aesthetic temperaments—their merits are left to the public and the marketplace to judge.

Elements of painting [edit]

Color and tone [edit]

Colour, made upwards of hue, saturation, and value, dispersed over a surface is the essence of painting, only as pitch and rhythm are the essence of music. Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the adjacent. Blackness is associated with mourning in the West, merely in the East, white is. Some painters, theoreticians, writers, and scientists, including Goethe,^[11] Kandinsky,^[12] and Newton,^[13] have written their own color theory.

Moreover, the use of language is but an brainchild for a color equivalent. The word "red", for example, tin can cover a wide range of variations from the pure red of the visible spectrum of low-cal. There is non a formalized register of unlike colors in the mode that there is understanding on different notes in music, such as F or C♯. For a painter, color is not simply divided into bones (chief) and derived (complementary or mixed) colors (like carmine, blueish, dark-green, brownish, etc.).

Painters deal practically with pigments,^[14] then "blue" for a painter can be whatsoever of the blues: phthalocyanine blue, Prussian blue, indigo, Cobalt blueish, ultramarine, so on. Psychological and symbolical meanings of color are not, strictly speaking, means of painting. Colors simply add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music (like a C note) is analogous to "low-cal" in painting, "shades" to dynamics, and "coloration" is to painting as the specific timbre of musical instruments is to music. These elements do not necessarily grade a melody (in music) of themselves; rather, they can add different contexts to information technology.

Non-traditional elements [edit]

Modern artists have extended the practice of painting considerably to include, equally one example, collage, which began with Cubism and is not painting in the strict sense. Some modernistic painters incorporate different materials such as metallic, plastic, sand, cement, straw, leaves or woods for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer. There is a growing community of artists who apply computers to "paint" colour onto a digital "canvas" using programs such as Adobe Photoshop, Corel Painter, and many others. These images can exist printed onto traditional canvass if required.

Rhythm [edit]

Jean Metzinger's mosaic-like Divisionist technique had its parallel in literature; a characteristic of the alliance between Symbolist writers and Neo-Impressionist artists:

I ask of divided brushwork non the objective rendering of light, but iridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification and for syllables, I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature. (Jean Metzinger, circa 1907)^[xv]

Rhythm, for artists such every bit Piet Mondrian,^{[16] [17]} is of import in painting every bit it is in music. If one defines rhythm as "a pause incorporated into a sequence", so there can exist rhythm in paintings. These pauses allow artistic force to arbitrate and add new creations—form, melody, coloration. The distribution of form or any kind of information is of crucial importance in the given work of art, and information technology directly affects the aesthetic value of that work. This is considering the aesthetic value is functionality dependent, i.eastward. the liberty (of motility) of perception is perceived every bit beauty. Free menses of free energy, in art also every bit in other forms of "techne", direct contributes to the aesthetic value.^[16]

Music was of import to the nativity of abstract art since music is abstract past nature—it does not try to represent the exterior earth, simply expresses in an immediate way the inner feelings of the soul. Wassily Kandinsky frequently used musical terms to identify his works; he called his about spontaneous paintings "improvisations" and described more elaborate works as "compositions". Kandinsky theorized that "music is the ultimate instructor,"^[18] and subsequently embarked upon the first seven of his ten Compositions. Hearing tones and chords as he painted, Kandinsky theorized that (for example), yellowish is the color of middle C on a flippant trumpet; black is the color of closure, and the end of things; and that combinations of colors produce vibrational frequencies, akin to chords played on a piano. In 1871 the young Kandinsky learned to play the piano and cello.^{[xix] [20]} Kandinsky's stage design for a performance of Mussorgsky'southward Pictures at an Exhibition illustrates his "synaesthetic" concept of a universal correspondence of forms, colors and musical sounds.^[21]

Music defines much of modernist abstract painting. Jackson Pollock underscores that interest with his 1950 painting Autumn Rhythm (Number 30).^[22]

Aesthetics and theory [edit]

Female painter sitting on a campstool and painting a statue of Dionysus or Priapus onto a panel which is held past a male child. Fresco from Pompeii, 1st century

Aesthetics is the written report of art and beauty; it was an important issue for 18th- and 19th-century philosophers such every bit Kant and Hegel. Classical philosophers similar Plato and Aristotle also theorized about fine art and painting in particular. Plato disregarded painters (as well as sculptors) in his philosophical arrangement; he maintained that painting cannot depict the truth—it is a copy of reality (a shadow of the world of ideas) and is nothing but a craft, similar to shoemaking or atomic number 26 casting.^[23] Past the time of Leonardo, painting had become a closer representation of the truth than painting was in Ancient Greece. Leonardo da Vinci, on the contrary, said that "Italian: La Pittura è cosa mentale" ("English language: painting is a thing of the mind").^[24] Kant distinguished between Beauty and the Sublime, in terms that clearly gave priority to the erstwhile.^{[ commendation needed ]} Although he did not refer to painting in item, this concept was taken upwards by painters such as J.Thou.Westward. Turner and Caspar David Friedrich.

Hegel recognized the failure of attaining a universal concept of dazzler and, in his aesthetic essay, wrote that painting is ane of the iii "romantic" arts, along with Poetry and Music, for its symbolic, highly intellectual purpose.^{[25] [26]} Painters who accept written theoretical works on painting include Kandinsky and Paul Klee.^{[27] [28]} In his essay, Kandinsky maintains that painting has a spiritual value, and he attaches primary colors to essential feelings or concepts, something that Goethe and other writers had already tried to do.

Iconography is the study of the content of paintings, rather than their manner. Erwin Panofsky and other art historians commencement seek to understand the things depicted, before looking at their significant for the viewer at the time, and finally analyzing their wider cultural, religious, and social meaning.^[29]

In 1890, the Parisian painter Maurice Denis famously asserted: "Retrieve that a painting—before beingness a warhorse, a naked adult female or some story or other—is essentially a flat surface covered with colors assembled in a sure social club."^[30] Thus, many 20th-century developments in painting, such as Cubism, were reflections on the ways of painting rather than on the external world—nature—which had previously been its cadre bailiwick. Recent contributions to thinking nearly painting take been offered by the painter and author Julian Bell. In his book What is Painting?, Bell discusses the development, through history, of the notion that paintings can express feelings and ideas.^[31] In Mirror of The World, Bell writes:

A piece of work of art seeks to concur your attention and keep it fixed: a history of art urges it onwards, bulldozing a highway through the homes of the imagination.^[32]

Painting media [edit]

Different types of pigment are usually identified by the medium that the pigment is suspended or embedded in, which determines the general working characteristics of the paint, such every bit viscosity, miscibility, solubility, drying time, etc.

Hot wax or encaustic [edit]

Encaustic painting, besides known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is then practical to a surface—usually prepared wood, though canvas and other materials are often used. The simplest encaustic mixture can exist made from adding pigments to beeswax, just there are several other recipes that can be used—some containing other types of waxes, damar resin, linseed oil, or other ingredients. Pure, powdered pigments tin can be purchased and used, though some mixtures use oil paints or other forms of pigment. Metal tools and special brushes tin be used to shape the pigment before it cools, or heated metal tools can be used to dispense the wax once information technology has cooled onto the surface. Other materials tin can be encased or collaged into the surface, or layered, using the encaustic medium to attach information technology to the surface.

The technique was the normal one for ancient Greek and Roman panel paintings, and remained in use in the Eastern Orthodox icon tradition.

Watercolor [edit]

Watercolor is a painting method in which the paints are made of pigments suspended in a h2o-soluble vehicle. The traditional and nearly common support for watercolor paintings is newspaper; other supports include papyrus, bark papers, plastics, vellum or leather, material, forest and canvas. In E Asia, watercolor painting with inks is referred to as castor painting or scroll painting. In Chinese, Korean, and Japanese painting information technology has been the dominant medium, frequently in monochrome black or browns. India, Federal democratic republic of ethiopia and other countries too have long traditions. Finger-painting with watercolor paints originated in China. There are various types of watercolors used by artists. Some examples are pan watercolors, liquid watercolors, watercolor brush pens, and watercolor pencils. Watercolor pencils (water-soluble colour pencils) may be used either wet or dry.

Gouache [edit]

Gouache is a water-based paint consisting of pigment and other materials designed to exist used in an opaque painting method. Gouache differs from watercolor in that the particles are larger, the ratio of paint to water is much college, and an additional, inert, white pigment such equally chalk is besides present. This makes gouache heavier and more than opaque, with greater reflective qualities. Like all watermedia, it is diluted with water.^[33]

Ink [edit]

Sesshū Tōyō, Landscapes of the Iv Seasons (1486), ink and light color on newspaper

Ink paintings are done with a liquid that contains pigments or dyes and is used to color a surface to produce an image, text, or design. Ink is used for drawing with a pen, brush, or quill. Ink can exist a complex medium, composed of solvents, pigments, dyes, resins, lubricants, solubilizers, surfactants, particulate matter, fluorescers, and other materials. The components of inks serve many purposes; the ink's carrier, colorants, and other additives control menstruation and thickness of the ink and its appearance when dry.

Enamel [edit]

Enamels are made past painting a substrate, typically metal, with powdered glass; minerals chosen color oxides provide coloration. After firing at a temperature of 750–850 degrees Celsius (1380–1560 degrees Fahrenheit), the result is a fused lamination of glass and metal. Dissimilar most painted techniques, the surface tin be handled and wetted Enamels have traditionally been used for ornament of precious objects,^[34] but take also been used for other purposes. Limoges enamel was the leading centre of Renaissance enamel painting, with pocket-size religious and mythological scenes in busy surrounds, on plaques or objects such as salts or caskets. In the 18th century, enamel painting enjoyed a vogue in Europe, especially as a medium for portrait miniatures.^[35] In the late 20th century, the technique of porcelain enamel on metal has been used equally a durable medium for outdoor murals.^[36]

Tempera [edit]

Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigment mixed with a water-soluble folder medium (usually a glutinous textile such equally egg yolk or another size). Tempera also refers to the paintings done in this medium. Tempera paintings are very long-lasting, and examples from the first centuries CE yet exist. Egg tempera was a primary method of painting until later 1500 when it was superseded by the invention of oil painting. A paint usually called tempera (though it is non) consisting of paint and mucilage size is unremarkably used and referred to by some manufacturers in America as poster paint.

Fresco [edit]

Fresco is any of several related mural painting types, done on plaster on walls or ceilings. The word fresco comes from the Italian word affresco [afˈfresːko], which derives from the Latin word for fresh. Frescoes were often made during the Renaissance and other early on fourth dimension periods. Buon fresco technique consists of painting in paint mixed with h2o on a thin layer of wet, fresh lime mortar or plaster, for which the Italian word for plaster, intonaco, is used. A secco painting, in contrast, is done on dry plaster (secco is "dry" in Italian). The pigments require a bounden medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

Oil [edit]

Honoré Daumier, The Painter (1808–1879), oil on console with visible brushstrokes

Oil painting is the process of painting with pigments that are bound with a medium of drying oil, such as linseed oil, which was widely used in early modernistic Europe. Often the oil was boiled with a resin such as pine resin or fifty-fifty frankincense; these were called 'varnishes' and were prized for their trunk and gloss. Oil paint eventually became the chief medium used for creating artworks every bit its advantages became widely known. The transition began with Early Netherlandish painting in northern Europe, and by the height of the Renaissance oil painting techniques had almost completely replaced tempera paints in the majority of Europe.

Pastel [edit]

Pastel is a painting medium in the grade of a stick, consisting of pure powdered pigment and a folder.^[37] The pigments used in pastels are the same as those used to produce all colored art media, including oil paints; the binder is of a neutral hue and depression saturation. The color effect of pastels is closer to the natural dry pigments than that of any other process.^[38] Because the surface of a pastel painting is fragile and easily smudged, its preservation requires protective measures such as framing nether glass; it may also be sprayed with a fixative. All the same, when made with permanent pigments and properly cared for, a pastel painting may endure unchanged for centuries. Pastels are not susceptible, as are paintings made with a fluid medium, to the cracking and discoloration that result from changes in the color, opacity, or dimensions of the medium every bit it dries.

Acrylic [edit]

Acrylic pigment is fast drying paint containing pigment intermission in acrylic polymer emulsion. Acrylic paints tin can be diluted with water, but go h2o-resistant when dry. Depending on how much the paint is diluted (with water) or modified with acrylic gels, media, or pastes, the finished acrylic painting can resemble a watercolor or an oil painting, or have its own unique characteristics non attainable with other media. The chief applied deviation between most acrylics and oil paints is the inherent drying fourth dimension. Oils allow for more time to blend colors and apply even glazes over under-paintings. This wearisome drying aspect of oil tin be seen equally an advantage for sure techniques, but may besides impede the artist's ability to work quickly.

Spray paint [edit]

Aerosol pigment (likewise called spray paint) is a blazon of paint that comes in a sealed pressurized container and is released in a fine spray mist when depressing a valve button. A form of spray painting, aerosol paint leaves a smooth, evenly coated surface. Standard sized cans are portable, inexpensive and easy to store. Droplets primer can be applied directly to bare metal and many plastics.

Speed, portability and permanence besides make droplets pigment a common graffiti medium. In the belatedly 1970s, street graffiti writers' signatures and murals became more than elaborate and a unique fashion adult as a factor of the droplets medium and the speed required for illicit piece of work. Many now recognize graffiti and street art equally a unique art grade and specifically manufactured droplets paints are fabricated for the graffiti artist. A stencil protects a surface, except the specific shape to be painted. Stencils tin can be purchased every bit movable letters, ordered as professionally cut logos or hand-cutting by artists.

Water miscible oil pigment [edit]

Water miscible oil paints (also chosen "h2o soluble" or "water-mixable") is a modern diverseness of oil paint engineered to be thinned and cleaned upwards with water, rather than having to use chemicals such as turpentine. It tin be mixed and applied using the same techniques equally traditional oil-based pigment, just while still wet it tin exist effectively removed from brushes, palettes, and rags with ordinary lather and water. Its water solubility comes from the use of an oil medium in which one end of the molecule has been altered to demark loosely to water molecules, as in a solution.

Digital painting [edit]

Digital painting is a method of creating an art object (painting) digitally or a technique for making digital art on the computer. As a method of creating an art object, it adapts traditional painting medium such as acrylic pigment, oils, ink, watercolor, etc. and applies the paint to traditional carriers, such as woven sail cloth, paper, polyester, etc. past means of software driving industrial robotic or office machinery (printers). Every bit a technique, it refers to a estimator graphics software program that uses a virtual canvas and virtual painting box of brushes, colors, and other supplies. The virtual box contains many instruments that do not exist outside the computer, and which give a digital artwork a dissimilar look and feel from an artwork that is made the traditional manner. Furthermore, digital painting is not 'estimator-generated' art as the figurer does not automatically create images on the screen using some mathematical calculations. On the other mitt, the artist uses his ain painting technique to create a detail piece of work on the estimator.^[39]

Painting styles [edit]

Way is used in 2 senses: It can refer to the distinctive visual elements, techniques, and methods that typify an individual creative person's piece of work. Information technology can likewise refer to the movement or schoolhouse that an artist is associated with. This tin can stem from an actual group that the artist was consciously involved with or information technology can exist a category in which art historians have placed the painter. The word 'style' in the latter sense has fallen out of favor in academic discussions about contemporary painting, though information technology continues to be used in pop contexts. Such movements or classifications include the following:

Western [edit]

Modernism [edit]

Modernism describes both a fix of cultural tendencies and an array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the tardily 19th century and early 20th century. Modernism was a revolt against the conservative values of realism.^{[40] [41]} The term encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization, and daily life were becoming outdated in the new economic, social, and political weather condition of an emerging fully industrialized world. A salient characteristic of modernism is self-consciousness. This ofttimes led to experiments with form, and work that draws attention to the processes and materials used (and to the farther tendency of abstraction).^[42]

Impressionism [edit]

The commencement example of modernism in painting was impressionism, a school of painting that initially focused on work washed, not in studios, simply outdoors (en plein air). Impressionist paintings demonstrated that human beings do non encounter objects, just instead see light itself. The schoolhouse gathered adherents despite internal divisions among its leading practitioners and became increasingly influential. Initially rejected from the most important commercial prove of the time, the government-sponsored Paris Salon, the Impressionists organized yearly grouping exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. A meaning event of 1863 was the Salon des Refusés, created by Emperor Napoleon 3 to display all of the paintings rejected by the Paris Salon.

Abstract styles [edit]

Abstruse painting uses a visual language of course, colour and line to create a composition that may exist with a degree of independence from visual references in the world.^{[43] [44]} Abstruse expressionism was an American mail service-World War 2 fine art movement that combined the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstruse schools—such as Futurism, Bauhaus and Cubism, and the image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.^[45]

Activeness painting, sometimes chosen gestural abstraction, is a style of painting in which pigment is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.^[46] The resulting work often emphasizes the physical act of painting itself every bit an essential aspect of the finished piece of work or concern of its artist. The style was widespread from the 1940s until the early on 1960s, and is closely associated with abstruse expressionism (some critics have used the terms "activeness painting" and "abstract expressionism" interchangeably).

Other modernist styles include:

• Colour Field
• Lyrical Abstraction
• Difficult-edge painting
• Pop art

Outsider art [edit]

The term outsider art was coined past art critic Roger Cardinal in 1972 as an English synonym for fine art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created past French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused specially on art by insane-aviary inmates.^[47] Outsider art has emerged as a successful art marketing category (an almanac Outsider Fine art Fair has taken place in New York since 1992). The term is sometimes misapplied as a take hold of-all marketing label for art created past people outside the mainstream "fine art world," regardless of their circumstances or the content of their work.

Photorealism [edit]

Photorealism is the genre of painting based on using the photographic camera and photographs to gather data and and then from this information, creating a painting that appears to be very realistic like a photograph. The term is primarily applied to paintings from the United States art movement that began in the tardily 1960s and early 1970s. Equally a total-fledged art move, Photorealism evolved from Pop Art^{[48] [49] [50]} and as a counter to Abstruse Expressionism.

Hyperrealism is a genre of painting and sculpture resembling a loftier-resolution photograph. Hyperrealism is a fully-fledged school of fine art and can exist considered an advocacy of Photorealism by the methods used to create the resulting paintings or sculptures. The term is primarily applied to an independent art movement and art style in the The states and Europe that has developed since the early 2000s.^[51]

Surrealism [edit]

Surrealism is a cultural movement that began in the early on 1920s, and is best known for the artistic and literary product of those affiliated with the Surrealist Movement. Surrealist artworks feature the element of surprise, the uncanny, the unconscious, unexpected juxtapositions and non-sequitur; however, many Surrealist artists and writers regard their work equally an expression of the philosophical motion offset and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement.

Surrealism developed out of the Dada activities of Globe War I and the well-nigh important center of the movement was Paris. From the 1920s onward, the motion spread around the globe, eventually affecting the visual arts, literature, moving picture and music of many countries, also every bit political thought and practice, philosophy and social theory.

East Asian [edit]

• Chinese
  • Tang Dynasty
  • Ming Dynasty
  • Shan shui
  • Ink and wash painting
  • Hua niao
  • Southern School
    • Zhe School
    • Wu Schoolhouse
  • Contemporary
• Japanese
  • Yamato-east
  • Rimpa school
  • Emakimono
  • Kanō schoolhouse
  • Shijō school
  • Superflat
• Korean

Southeast Asia [edit]

• Indonesian

Islamic [edit]

• Arabic miniature
• Mughal miniature
• Ottoman miniature
• Persian miniature

Indian [edit]

Pattachitra is a general term for traditional, cloth-based coil painting, based in the eastern Indian states of Odisha and W Bengal.^[52]The Pattachitra painting tradition is closely linked with the worship of Lord Jagannath in Odisha.^[53] The field of study affair of Pattachitra is limited to religious themes. Patachitra artform is known for its intricate details also as mythological narratives and folktales inscribed in it. All colours used in the Paintings are natural and paintings are fabricated fully quondam traditional way by Chitrakaras that is Odiya Painter. Pattachitra style of painting is ane of the oldest and most popular art forms of Odisha.Patachitras are a component of an ancient Bengali narrative fine art, originally serving every bit a visual device during the performance of a song.^{[54] [55] [56]}

Khan Bahadur Khan with Men of his Clan, c. 1815, from the Fraser Anthology, Company Fashion

Company style is a term for a hybrid Indo-European style of paintings made in India past Indian artists, many of whom worked for European patrons in the British East India Visitor or other strange Companies in the 18th and 19th centuries.^[57]3 distinct styles of Company Painting emerged in 3 British Power Centres- Delhi, Calcutta and Madras. The subject matter of company paintings made for western patrons was often documentary rather than imaginative, and as a consequence, the Indian artists were required to adopt a more naturalistic approach to painting than had traditionally been usual.^{[58] [59]}

The Bengal School^[60] was an art movement and a manner of Indian painting that originated in Bengal, primarily Kolkata and Shantiniketan, and flourished throughout the Indian subcontinent, during the British Raj in the early 20th century. The Bengal school arose as an avant garde and nationalist movement reacting confronting the academic art styles previously promoted in India, both by Indian artists such equally Raja Ravi Varma and in British art schools. The schoolhouse wanted to plant a distinct Indian style which celebrated the indigenous cultural heritage.In an attempt to turn down colonial aesthetics, Abanindranath Tagore also turned to People's republic of china and Japan with the intent of promoting a pan-Asian aesthetic and incorporated elements from Far Eastern art, such as the Japanese wash technique.^{[61] [62] [63]}

Kangra painting is the pictorial art of Kangra, named afterward Kangra, Himachal Pradesh, a former princely state, which patronized the art. It became prevalent with the fading of Basohli school of painting in mid-18th century.^{[64] [65]}The focal theme of Kangra painting is Shringar (the erotic sentiment). The subjects are seen in Kangra painting exhibit the taste and the traits of the lifestyle of the society of that period.^[66] The artists adopted themes from the love verse of Jayadeva and Keshav Das who wrote ecstatically of the dear of Radha and Krishna with Bhakti being the driving force.^{[67] [68]}

19th Century Mysore Painting of Goddess Saraswathi

Madhubani Fine art is a style of Indian painting, practiced in the Mithila region of India and Nepal. The style is characterized by complex geometrical patterns, these paintings are famous for representating ritual content used for particular occasions like festivals,religious rituals etc.^[69]

Mysore painting is an important form of classical South Indian painting that originated in and effectually the town of Mysore in Karnataka encouraged and nurtured past the Mysore rulers. Mysore paintings are known for their elegance, muted colours, and attention to detail. The themes for most of these paintings are Hindu gods and goddesses and scenes from Hindu mythology.^{[70] [71]}

Krishna and Radha, might exist the work of Nihâl Chand, master of Kishangarh school of Rajput Painting

Rajasthani painting evolved and flourished in the royal courts of Rajputana^[72] in northern India, mainly during the 17th century. Artists trained in the tradition of the Mughal miniature were dispersed from the purple Mughal courtroom, and developed styles also cartoon from local traditions of painting, particularly those illustrating the Sanskrit Epics, the Mahabharata and Ramayana. Subjects varied, only portraits of the ruling family, frequently engaged in hunting or their daily activities, were generally pop, every bit were narrative scenes from the epics or Hindu mythology, likewise as some genre scenes of landscapes, and humans.^{[73] [74] [75]}

Mughal painting is a particular style of South Asian, especially North Indian (more specifically, modern day India and Pakistan), painting confined to miniatures either equally book illustrations or as single works to exist kept in albums (muraqqa). It emerged^[76] from Farsi miniature painting (itself partly of Chinese origin) and adult in the court of the Mughal Empire of the 16th to 18th centuries. Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the principal bailiwick of many miniatures for albums, and were more than realistically depicted.^{[77] [78] [79]}

Others [edit]

• Samikshavad
• Tanjore
• Warli
• Kerala mural painting
• Deccan style

African [edit]

• Tingatinga

Gimmicky art [edit]

1950s [edit] Abstract Expressionism American Figurative Expressionism Bay Area Figurative Move Lyrical Brainchild New York Figurative Expressionism New York School

1960s [edit] Abstruse expressionism American Figurative Expressionism Abstract Imagists Bay Area Figurative Movement Color field Computer art Conceptual fine art Fluxus Happenings Hard-edge painting Lyrical Abstraction Minimalism Neo-figurative Neo-Dada New York School Nouveau Réalisme Op Fine art Performance fine art Pop Fine art Postminimalism Washington Color School Kinetic art

1970s [edit] Arte Povera Ascii Art Bad Painting Body fine art Artist's volume Feminist art Installation fine art Land Art Lowbrow (art motion) Photorealism Postminimalism Process Art Video fine art Funk art Pattern and Decoration

1980s [edit] Cribbing art Civilization jamming Demoscene Electronic art Figuration Libre Graffiti Fine art Alive art Postal service fine art Postmodern art Neo-conceptual art Neo-expressionism Neo-pop Sound art Transgressive art Video installation Institutional Critique NeoGeo

1990s [edit] Bio art Cyberarts Cynical Realism Digital Art Information art Net fine art Massurrealism Maximalism New media fine art Software art New European Painting Young British Artists

2000s [edit] Digital Painting Hyperrealism Classical Realism Relational art Street art Stuckism Superflat Pseudorealism Videogame fine art Superstroke VJ art Virtual art

Types of painting [edit]

Allegory [edit]

Allegory is a figurative mode of representation conveying meaning other than the literal. Allegory communicates its message by means of symbolic figures, actions, or symbolic representation. Apologue is generally treated as a figure of rhetoric, but an apologue does not have to be expressed in linguistic communication: it may be addressed to the middle and is oftentimes found in realistic painting. An instance of a unproblematic visual allegory is the image of the grim reaper. Viewers understand that the image of the grim reaper is a symbolic representation of decease.

Bodegón [edit]

In Spanish art, a bodegón is a withal life painting depicting pantry items, such as victuals, game, and drink, often bundled on a simple rock slab, and also a painting with one or more figures, simply significant still life elements, typically fix in a kitchen or tavern. Starting in the Baroque catamenia, such paintings became pop in Spain in the second quarter of the 17th century. The tradition of still life painting appears to have started and was far more than pop in the contemporary Low Countries, today Belgium and Netherlands (then Flemish and Dutch artists), than it ever was in southern Europe. Northern still lifes had many subgenres: the breakfast piece was augmented by the trompe-50'œil, the blossom boutonniere, and the vanitas. In Spain, there were much fewer patrons for this sort of thing, only a type of breakfast piece did become popular, featuring a few objects of food and tableware laid on a table.

Figure painting [edit]

A figure painting is a work of art in any of the painting media with the primary bailiwick existence the human effigy, whether clothed or nude. Figure painting may likewise refer to the action of creating such a piece of work. The human figure has been one of the contrast subjects of art since the beginning Stone Age cavern paintings, and has been reinterpreted in various styles throughout history.^[80] Some artists well known for effigy painting are Peter Paul Rubens, Edgar Degas, and Édouard Manet.

Illustration painting [edit]

Analogy paintings are those used as illustrations in books, magazines, and theater or movie posters and comic books. Today, at that place is a growing interest in collecting and admiring the original artwork. Various museum exhibitions, magazines, and art galleries have devoted space to the illustrators of the past. In the visual fine art world, illustrators have sometimes been considered less important in comparison with fine artists and graphic designers. Only every bit the result of calculator game and comic manufacture growth, illustrations are becoming valued as popular and assisting artworks that tin acquire a wider market than the other 2, peculiarly in Korea, Japan, Hong Kong and the Usa.

Landscape painting [edit]

Landscape painting is a term that covers the depiction of natural scenery such equally mountains, valleys, trees, rivers, lakes, and forests, and especially art where the main subject is a wide view, with its elements bundled into a coherent composition. In other works landscape backgrounds for figures can still grade an of import office of the work. The sky is about always included in the view, and weather is oftentimes an element of the composition. Detailed landscapes as a distinct subject are non found in all artistic traditions and develop when there is already a sophisticated tradition of representing other subjects. The ii principal traditions spring from Western painting and Chinese fine art, going back well over a thousand years in both cases.

Portrait painting [edit]

Portrait paintings are representations of a person, in which the face up and its expression is predominant. The intent is to brandish the likeness, personality, and even the mood of the person. The art of the portrait flourished in Aboriginal Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. One of the best-known portraits in the Western earth is Leonardo da Vinci'southward painting titled Mona Lisa, which is thought to exist a portrait of Lisa Gherardini, the wife of Francesco del Giocondo.^[83]

Still life [edit]

A still life is a piece of work of art depicting generally inanimate subject affair, typically commonplace objects—which may be either natural (nutrient, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the Center Ages and Ancient Greek/Roman fine art, still life paintings give the artist more elbowroom in the organization of blueprint elements inside a composition than do paintings of other types of subjects such as mural or portraiture. Notwithstanding life paintings, particularly before 1700, often independent religious and emblematic symbolism relating to the objects depicted. Some mod still life breaks the ii-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound.

Veduta [edit]

A veduta is a highly detailed, usually big-calibration painting of a cityscape or another vista. This genre of landscape originated in Flemish region, where artists such as Paul Bril painted vedute as early on every bit the 16th century. As the itinerary of the Grand Bout became somewhat standardized, vedute of familiar scenes like the Roman Forum or the Grand Canal recalled early ventures to the Continent for aloof Englishmen. In the afterward 19th century, more personal impressions of cityscapes replaced the desire for topographical accurateness, which was satisfied instead by painted panoramas.

See also [edit]

• 20th-century Western painting
• Cobweb painting
• Drawing
• Graphic arts
• Index of painting-related articles
• List of nigh expensive paintings
• Outline of painting
• Painting outsourcing in China
• Visual arts
• Image

Notes [edit]

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Farther reading [edit]

Wikimedia Commons has media related to Painting.

Wikiquote has quotations related to: Painting

Wait up painting in Wiktionary, the free dictionary.

• Daniel, H. (1971). Encyclopedia of Themes and Subjects in Painting; Mythological, Biblical, Historical, Literary, Allegorical, and Topical. New York: Harry Due north. Abrams Inc.
• Due west. Stanley Jr. Taft, James West. Mayer, The Science of Paintings, Kickoff Edition, Springer, 2000.

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Source: https://en.wikipedia.org/wiki/Painting

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