Painting

For other uses, see Painting (disambiguation).“Painter” redirects here. For other uses, see Painter (dis-ambiguation).Painting is the practice of applying paint, pigment,

TheMona Lisa, by Leonardo da Vinci, is one of the most recog-nizable paintings in the world.

color or other medium[1] to a surface (support base).The medium is commonly applied to the base with abrush, but other implements, such as knives, sponges, andairbrushes, can be used.In art, the term painting describes both the act and the re-sult of the action. The support for paintings includes suchsurfaces as walls, paper, canvas, wood, glass, lacquer,clay, leaf, copper and concrete, and the painting may in-corporate multiple other materials including sand, clay,paper, plaster, gold leaf, as well as objects.The term painting is also used outside of art as a commontrade among craftsmen and builders.Painting is a mode of creative expression, and the formsare numerous. Drawing, gesture (as in gestural painting),

composition, narration (as in narrative art), or abstraction(as in abstract art), among other aesthetic modes, mayserve to manifest the expressive and conceptual inten-tion of the practitioner.[2] Paintings can be naturalisticand representational (as in a still life or landscape paint-ing), photographic, abstract, narrative, symbolistic (as inSymbolist art), emotive (as in Expressionism), or politicalin nature (as in Artivism).A portion of the history of painting in both Eastern andWestern art is dominated by spiritual motifs and ideas.Examples of this kind of painting range from artwork de-picting mythological figures on pottery, to Biblical scenesrendered on the interior walls and ceiling of the SistineChapel, to scenes from the life of Buddha or other im-ages of Eastern religious origin.

1 Elements

Chen Hongshou (1598–1652), Leaf album painting (Ming Dy-nasty)

1.1 Intensity

What enables painting is the perception and representa-tion of intensity. Every point in space has different in-tensity, which can be represented in painting by blackand white and all the gray shades between. In practice,

1

2 2 HISTORY

painters can articulate shapes by juxtaposing surfaces ofdifferent intensity; by using just color (of the same in-tensity) one can only represent symbolic shapes. Thus,the basic means of painting are distinct from ideologicalmeans, such as geometrical figures, various points of viewand organization (perspective), and symbols. For exam-ple, a painter perceives that a particular white wall hasdifferent intensity at each point, due to shades and re-flections from nearby objects, but, ideally, a white wall isstill a white wall in pitch darkness. In technical drawing,thickness of line is also ideal, demarcating ideal outlinesof an object within a perceptual frame different from theone used by painters.

1.2 Color and tone

Color and tone are the essence of painting as pitch andrhythm are the essence of music. Color is highly subjec-tive, but has observable psychological effects, althoughthese can differ from one culture to the next. Black isassociated with mourning in the West, but in the East,white is. Some painters, theoreticians, writers and scien-tists, including Goethe,[3] Kandinsky,[4] and Newton,[5]have written their own color theory.Moreover, the use of language is only an abstraction for acolor equivalent. The word "red", for example, can covera wide range of variations from the pure red of the visiblespectrum of light. There is not a formalized register ofdifferent colors in the way that there is agreement on dif-ferent notes in music, such as F or C♯. For a painter,color is not simply divided into basic (primary) and de-rived (complementary or mixed) colors (like red, blue,green, brown, etc.).Painters deal practically with pigments,[6] so "blue" fora painter can be any of the blues: phthalocyanine blue,Prussian blue, indigo, cobalt, ultramarine, and so on.Psychological and symbolical meanings of color are not,strictly speaking, means of painting. Colors only add tothe potential, derived context of meanings, and becauseof 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 “light” in painting, “shades”to dynamics, and “coloration” is to painting as the spe-cific timbre of musical instruments is to music. Theseelements do not necessarily form a melody (in music) ofthemselves; rather, they can add different contexts to it.

1.3 Non-traditional elements

Modern artists have extended the practice of paintingconsiderably to include, as one example, collage, whichbegan with Cubism and is not painting in the strict sense.Some modern painters incorporate different materialssuch as sand, cement, straw or wood for their texture. Ex-amples of this are the works of Jean Dubuffet and AnselmKiefer. There is a growing community of artists who use

Circus Sideshow (French: Parade de cirque), Georges Seurat,1887–88

computers to “paint” color onto a digital “canvas” usingprograms such as Adobe Photoshop, Corel Painter, andmany others. These images can be printed onto tradi-tional canvas if required.

1.4 Rhythm

Rhythm is important in painting as it is in music. If onedefines rhythm as “a pause incorporated into a sequence”,then there can be rhythm in paintings. These pauses allowcreative force to intervene and add new creations—form,melody, coloration. The distribution of form, or any kindof information is of crucial importance in the given workof art, and it directly affects the aesthetic value of thatwork. This is because the aesthetical value is functionalitydependent, i.e. the freedom (of movement) of perceptionis perceived as beauty. Free flow of energy, in art as wellas in other forms of "techne", directly contributes to theaesthetical value.

2 History

Main article: History of paintingThe oldest known paintings are at the Grotte Chauvet inFrance, which some historians believe are about 32,000years old. They are engraved and painted using red ochreand black pigment, and they show horses, rhinoceros, li-ons, buffalo, mammoth, abstract designs and what arepossibly partial human figures. However, the earliest ev-idence of the act of painting has been discovered in tworock-shelters in Arnhem Land, in northern Australia. Inthe lowest layer of material at these sites, there are usedpieces of ochre estimated to be 60,000 years old. Ar-chaeologists have also found a fragment of rock paintingpreserved in a limestone rock-shelter in the Kimberleyregion of North-Western Australia, that is dated 40,000years old.[7] There are examples of cave paintings allover the world—in Italy, France, Spain, Portugal, China,Australia, Mexico,[8] etc.

3

Cave painting of aurochs, (French: Bos primigenius primige-nius), Lascaux, France, prehistoric art

In Western cultures, oil painting and watercolor paintinghave rich and complex traditions in style and subject mat-ter. In the East, ink and color ink historically predomi-nated the choice of media, with equally rich and complextraditions.The invention of photography had a major impact onpainting. In the decades after the first photographwas produced in 1829, photographic processes improvedand became more widely practiced, depriving paintingof much of its historic purpose to provide an accu-rate record of the observable world. A series of artmovements in the late 19th and early 20th centuries—notably Impressionism, Post-Impressionism, Fauvism,Expressionism, Cubism, and Dadaism—challenged theRenaissance view of the world. Eastern and Africanpainting, however, continued a long history of stylizationand did not undergo an equivalent transformation at thesame time.Modern and Contemporary Art has moved away from thehistoric value of craft and documentation in favour ofconcept, leading some to say, in the 1960s, that paint-ing as a serious art form is dead. This has not deterredthe majority of living painters from continuing to prac-tice painting either as whole or part of their work. Thevitality and versatility of painting in the 21st century de-fies the previous “declarations” of its demise. In an epochcharacterized by the idea of pluralism, there is no consen-sus as to a representative style of the age. Artists continueto make important works of art in a wide variety of stylesand aesthetic temperaments—their merits are left to thepublic and the marketplace to judge.Among the continuing and current directions in paintingat the beginning of the 21st century are Monochromepainting, Hard-edge painting, Geometric abstrac-tion, Appropriation, Hyperrealism, Photorealism,Expressionism, Minimalism, Lyrical Abstraction, PopArt, Op Art, Abstract Expressionism, Color Fieldpainting, Neo-expressionism, Collage, Intermediapainting, Assemblage painting, Computer art painting,

Postmodern painting, Neo-Dada painting, Shaped canvaspainting, environmental mural painting, traditional figurepainting, Landscape painting, Portrait painting, andpaint-on-glass animation.

3 Aesthetics and theory

Main article: Theory of paintingAesthetics is the study of art and beauty; it was an impor-

Apelles or the Art of painting (detail), relief of the Giotto’s BellTower in Florence, Italy, Nino Pisano, 1334–1336

tant issue for 18th- and 19th-century philosophers suchas Kant and Hegel. Classical philosophers like Plato andAristotle also theorized about art and painting in particu-lar. Plato disregarded painters (as well as sculptors) in hisphilosophical system; he maintained that painting cannotdepict the truth—it is a copy of reality (a shadow of theworld of ideas) and is nothing but a craft, similar to shoe-making or iron casting. By the time of Leonardo, paint-ing had become a closer representation of the truth thanpainting was in Ancient Greece. Leonardo da Vinci, onthe contrary, said that "Italian: La Pittura è cosa menta-le" (“English: painting is a thing of the mind”).[9] Kantdistinguished between Beauty and the Sublime, in termsthat clearly gave priority to the former. Although he didnot refer to painting in particular, this concept was takenup by painters such as J.M.W. Turner and Caspar DavidFriedrich.Hegel recognized the failure of attaining a universalconcept of beauty and, in his aesthetic essay, wrote

4 4 PAINTING MEDIA

that painting is one of the three “romantic” arts, alongwith Poetry and Music, for its symbolic, highly intel-lectual purpose.[10][11] Painters who have written theo-retical works on painting include Kandinsky and PaulKlee.[12][13] In his essay, Kandinsky maintains that paint-ing has a spiritual value, and he attaches primary colorsto essential feelings or concepts, something that Goetheand other writers had already tried to do.Iconography is the study of the content of paintings,rather than their style. Erwin Panofsky and other art his-torians first seek to understand the things depicted, beforelooking at their meaning for the viewer at the time, andfinally analyzing their wider cultural, religious, and socialmeaning.[14]

In 1890, the Parisian painter Maurice Denis famouslyasserted: “Remember that a painting—before being awarhorse, a naked woman or some story or other—is es-sentially a flat surface covered with colors assembled ina certain order.”[15] Thus, many 20th-century develop-ments in painting, such as Cubism, were reflections onthemeans of painting rather than on the external world—nature—which had previously been its core subject. Re-cent contributions to thinking about painting have beenoffered by the painter and writer Julian Bell. In hisbook What is Painting?, Bell discusses the development,through history, of the notion that paintings can expressfeelings and ideas.[16] InMirror of TheWorld, Bell writes:

A work of art seeks to hold your attentionand keep it fixed: a history of art urges it on-wards, bulldozing a highway through the homesof the imagination.[17]

4 Painting media

Different types of paint are usually identified by themedium that the pigment is suspended or embedded in,which determines the general working characteristics ofthe paint, such as viscosity, miscibility, solubility, dryingtime, etc.

4.1 Oil

Oil painting is the process of painting with pigments thatare bound with a medium of drying oil, such as linseedoil, which was widely used in early modern Europe. Of-ten the oil was boiled with a resin such as pine resin oreven frankincense; these were called 'varnishes’ and wereprized for their body and gloss. Oil paint eventually be-came the principal medium used for creating artworksas its advantages became widely known. The transitionbegan with Early Netherlandish painting in northern Eu-rope, and by the height of the Renaissance oil paint-ing techniques had almost completely replaced temperapaints in the majority of Europe.

Honoré Daumier (1808–79), The Painter. Oil on panel with vis-ible brushstrokes.

4.2 Pastel

Maurice Quentin de La Tour, Portrait of Louis XV of France.(1748) Pastel.

Pastel is a painting medium in the form of a stick, con-sisting of pure powdered pigment and a binder.[18] Thepigments used in pastels are the same as those used toproduce all colored art media, including oil paints; thebinder is of a neutral hue and low saturation. The coloreffect of pastels is closer to the natural dry pigments thanthat of any other process.[19] Because the surface of a pas-tel painting is fragile and easily smudged, its preserva-tion requires protective measures such as framing underglass; it may also be sprayed with a fixative. Nonetheless,when made with permanent pigments and properly caredfor, a pastel paintingmay endure unchanged for centuries.Pastels are not susceptible, as are paintings made with a

4.5 Ink 5

fluid medium, to the cracking and discoloration that re-sult from changes in the color, opacity, or dimensions ofthe medium as it dries.

4.3 Acrylic

Jungle Arc by Ray Burggraf. Acrylic paint on wood. (1998)

Acrylic paint is fast drying paint containing pigment sus-pension in acrylic polymer emulsion. Acrylic paints canbe diluted with water, but become water-resistant whendry. Depending on how much the paint is diluted (withwater) or modified with acrylic gels, media, or pastes, thefinished acrylic painting can resemble a watercolor or anoil painting, or have its own unique characteristics not at-tainable with other media. The main practical differencebetweenmost acrylics and oil paints is the inherent dryingtime. Oils allow for more time to blend colors and applyeven glazes over under-paintings. This slow drying aspectof oil can be seen as an advantage for certain techniques,but in other regards it impedes the artist trying to workquickly.

4.4 Watercolor

Manfred on the Jungfrau (1837), John Martin. Watercolorpainting

Watercolor is a painting method in which the paints aremade of pigments suspended in a water-soluble vehi-

cle. The traditional and most common support for water-color paintings is paper; other supports include papyrus,bark papers, plastics, vellum or leather, fabric, wood andcanvas. In East Asia, watercolor painting with inks is re-ferred to as brush painting or scroll painting. In Chinese,Korean, and Japanese painting it has been the dominantmedium, often in monochrome black or browns. In-dia, Ethiopia and other countries also have long tradi-tions. Finger-painting with watercolor paints originatedin China. Watercolor pencils (water-soluble color pen-cils) may be used either wet or dry.

4.5 Ink

Landscapes of the Four Seasons (1486), Sesshū Tōyō. Ink andlight color on paper.

Ink paintings are donewith a liquid that contains pigmentsand/or dyes and is used to color a surface to produce animage, text, or design. Ink is used for drawing with a pen,brush, or quill. Ink can be a complex medium, composedof solvents, pigments, dyes, resins, lubricants, solubiliz-ers, surfactants, particulate matter, fluorescers, and othermaterials. The components of inks serve many purposes;the ink’s carrier, colorants, and other additives controlflow and thickness of the ink and its appearance whendry.

4.6 Hot wax

Encaustic painting, also known as hot wax painting, in-volves using heated beeswax to which colored pigmentsare added. The liquid/paste is then applied to a surface—usually prepared wood, though canvas and other materi-als are often used. The simplest encaustic mixture canbe made from adding pigments to beeswax, but thereare several other recipes that can be used—some con-taining other types of waxes, damar resin, linseed oil, orother ingredients. Pure, powdered pigments can be pur-chased and used, though some mixtures use oil paints orother forms of pigment. Metal tools and special brushescan be used to shape the paint before it cools, or heatedmetal tools can be used to manipulate the wax once it hascooled onto the surface. Other materials can be encased

6 4 PAINTING MEDIA

Encaustic Angel (2009), Martina Loos. Beeswax crayons, en-caustic iron and hotpen.

or collaged into the surface, or layered, using the encaus-tic medium to adhere it to the surface.

4.7 Fresco

Fresco is any of several relatedmural painting types, doneon plaster on walls or ceilings. The word fresco comesfrom the Italian word affresco [afˈfresːko], which de-rives from the Latin word for fresh. Frescoes were oftenmade during the Renaissance and other early time peri-ods. Buon fresco technique consists of painting in pig-ment mixed with water on a thin layer of wet, fresh limemortar or plaster, for which the Italian word for plaster,intonaco, is used. A secco painting, in contrast, is doneon dry plaster (secco is “dry” in Italian). The pigmentsrequire a binding medium, such as egg (tempera), glue oroil to attach the pigment to the wall.

4.8 Gouache

Gouache is a water based paint consisting of pigment andother materials designed to be used in an opaque paint-ing method. Gouache differs from watercolor in that theparticles are larger, the ratio of pigment to water is muchhigher, and an additional, inert, white pigment such aschalk is also present. This makes gouache heavier andmore opaque, with greater reflective qualities. Like all

White Angel, a fresco from Mileševa, Serbia

watermedia, it is diluted with water.[20]

4.9 Enamel

Enamels aremade by painting a substrate, typically metal,with frit, a type of powdered glass. Minerals called coloroxides provide coloration. After firing at a temperatureof 750–850 degrees Celsius (1380–1560 degrees Fahren-heit), the result is a fused lamination of glass and metal.Enamels have traditionally been used for decoration ofprecious objects,[21] but have also been used for otherpurposes. In the 18th century, enamel painting enjoyed

4.12 Water miscible oil paint 7

Crying Girl (1964), Roy Lichtenstein. Porcelain enamel.

a vogue in Europe, especially as a medium for portraitminiatures.[22] In the late 20th century, the technique ofporcelain enamel on metal has been used as a durablemedium for outdoor murals.[23]

4.10 Spray paint

Aerosol paint (also called spray paint) is a type of paintthat comes in a sealed pressurized container and is re-leased 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. Aerosol primer can be ap-plied directly to bare metal and many plastics.Speed, portability and permanence also make aerosolpaint a common graffiti medium. In the late 1970s, streetgraffiti writers’ signatures and murals became more elab-orate and a unique style developed as a factor of theaerosol medium and the speed required for illicit work.Many now recognize graffiti and street art as a uniqueart form and specifically manufactured aerosol paints aremade for the graffiti artist. A stencil protects a surface,except the specific shape to be painted. Stencils can bepurchased as movable letters, ordered as professionallycut logos or hand-cut by artists.

4.11 Tempera

Tempera, also known as egg tempera, is a permanent,fast-drying painting medium consisting of colored pig-ment mixed with a water-soluble binder medium (usu-ally a glutinous material such as egg yolk or some othersize). Tempera also refers to the paintings done in thismedium. Tempera paintings are very long lasting, andexamples from the first centuries CE still exist. Egg tem-

pera was a primary method of painting until after 1500when it was superseded by the invention of oil painting.A paint commonly called tempera (though it is not) con-sisting of pigment and glue size is commonly used andreferred to by some manufacturers in America as posterpaint.

4.12 Water miscible oil paint

Water miscible oil paints (also called “water soluble” or“water-mixable”) is a modern variety of oil paint engi-neered to be thinned and cleaned up with water, ratherthan having to use chemicals such as turpentine. It canbe mixed and applied using the same techniques as tra-ditional oil-based paint, but while still wet it can be ef-fectively removed from brushes, palettes, and rags withordinary soap and water. Its water solubility comes fromthe use of an oil medium inwhich one end of themoleculehas been altered to bind loosely to water molecules, as ina solution.

5 Painting styles

Main article: Style (visual arts)

Style is used in two senses: It can refer to the distinctivevisual elements, techniques andmethods that typify an in-dividual artist’s work. It can also refer to the movementor school that an artist is associated with. This can stemfrom an actual group that the artist was consciously in-volved with or it can be a category in which art histori-ans have placed the painter. The word 'style' in the lat-ter sense has fallen out of favor in academic discussionsabout contemporary painting, though it continues to beused in popular contexts. Such movements or classifica-tions include the following:

5.1 Western

5.1.1 Modernism

Modernism describes both a set of cultural tendencies andan array of associated cultural movements, originally aris-ing from wide-scale and far-reaching changes to Westernsociety in the late 19th century and early 20th century.Modernismwas a revolt against the conservative values ofrealism.[24][25] The term encompasses the activities andoutput of those who felt the “traditional” forms of art,architecture, literature, religious faith, social organiza-tion and daily life were becoming outdated in the neweconomic, social and political conditions of an emerg-ing fully industrialized world. A salient characteristic ofmodernism is self-consciousness. This often led to ex-periments with form, and work that draws attention to the

8 5 PAINTING STYLES

processes and materials used (and to the further tendencyof abstraction).[26]

Impressionism The first example of modernism inpainting was impressionism, a school of painting thatinitially focused on work done, not in studios, but out-doors (en plein air). Impressionist paintings demon-strated that human beings do not see objects, but insteadsee light itself. The school gathered adherents despiteinternal divisions among its leading practitioners, andbecame increasingly influential. Initially rejected fromthe most important commercial show of the time, thegovernment-sponsored Paris Salon, the Impressionists or-ganized yearly group exhibitions in commercial venuesduring the 1870s and 1880s, timing them to coincide withthe official Salon. A significant event of 1863 was theSalon des Refusés, created by Emperor Napoleon III todisplay all of the paintings rejected by the Paris Salon.

Abstract styles Abstract painting uses a visual lan-guage of form, color and line to create a composition thatmay exist with a degree of independence from visual ref-erences in the world.[27][28] Abstract expressionism wasan American post-World War II art movement that com-bined the emotional intensity and self-denial of the Ger-man Expressionists with the anti-figurative aesthetic ofthe European abstract schools—such as Futurism, theBauhaus and Synthetic Cubism and the image of beingrebellious, anarchic, highly idiosyncratic and, some feel,nihilistic.[29]

Action painting, sometimes called gestural abstraction, isa style of painting in which paint is spontaneously drib-bled, splashed or smeared onto the canvas, rather thanbeing carefully applied.[30] The resulting work often em-phasizes the physical act of painting itself as an essen-tial aspect of the finished work or concern of its artist.The style was widespread from the 1940s until the early1960s, and is closely associated with abstract expression-ism (some critics have used the terms “action painting”and "abstract expressionism" interchangeably).Other modernist styles include:

• Color Field

• Lyrical Abstraction

• Hard-edge painting

• Expressionism

• Cubism

• Pop art

Outsider art The term outsider art was coined by artcritic Roger Cardinal in 1972 as an English synonym forart brut (French: [aʁ bʁyt], “raw art” or “rough art”),

a label created by French artist Jean Dubuffet to de-scribe art created outside the boundaries of official cul-ture; Dubuffet focused particularly on art by insane-asylum inmates.[31] Outsider art has emerged as a suc-cessful art marketing category (an annual Outsider ArtFair has taken place in New York since 1992). The termis sometimes misapplied as a catch-all marketing label forart created by people outside the mainstream “art world,”regardless of their circumstances or the content of theirwork.

Photorealism Photorealism is the genre of paintingbased on using the camera and photographs to gatherinformation and then from this information, creatinga painting that appears to be very realistic like aphotograph. The term is primarily applied to paintingsfrom the United States art movement that began in thelate 1960s and early 1970s. As a full-fledged art move-ment, Photorealism evolved from Pop Art[32][33][34] andas a counter to Abstract Expressionism.Hyperrealism is a genre of painting and sculpture resem-bling a high-resolution photograph. Hyperrealism is afully fledged school of art and can be considered an ad-vancement of Photorealism by the methods used to createthe resulting paintings or sculptures. The term is primar-ily applied to an independent art movement and art stylein the United States and Europe that has developed sincethe early 2000s.[35]

Surrealism Surrealism is a cultural movement that be-gan in the early 1920s, and is best known for the visualartworks and writings of the group members. Surreal-ist artworks feature the element of surprise, unexpectedjuxtapositions and non sequitur; however, many Surreal-ist artists and writers regard their work as an expressionof the philosophical movement first and foremost, withthe works being an artifact. Leader André Breton wasexplicit in his assertion that Surrealism was above all arevolutionary movement.Surrealism developed out of the Dada activities of WorldWar I and the most important center of the move-ment was Paris. From the 1920s onward, the move-ment spread around the globe, eventually affecting thevisual arts, literature, film and music of many countriesand languages, as well as political thought and practice,philosophy and social theory.See also: Outline of painting § Styles of painting

5.2 Far Eastern

• Chinese

• Tang Dynasty• Ming Dynasty

5.6 Contemporary art 9

• Shan shui• Ink and wash painting• Hua niao• Southern School

• Zhe School• Wu School

• Contemporary

• Japanese

• Yamato-e• Rimpa school• Emakimono• Kanō school• Shijō school• Superflat

• Korean

5.3 Islamic

• Persian miniature

• Mughal miniature

• Ottoman miniature

5.4 Indian

• Oriya school

• Bengal school

• Kangra

• Madhubani

• Mysore

• Rajput

• Mughal

• Samikshavad

• Tanjore

5.5 African

• Tingatinga

5.6 Contemporary art

6 Idioms

6.1 Allegory

Allegory is a figurative mode of representation convey-ing meaning other than the literal. Allegory communi-cates its message by means of symbolic figures, actionsor symbolic representation. Allegory is generally treatedas a figure of rhetoric, but an allegory does not have tobe expressed in language: it may be addressed to the eye,and is often found in realistic painting. An example ofa simple visual allegory is the image of the grim reaper.Viewers understand that the image of the grim reaper isa symbolic representation of death.

6.2 Bodegón

Bodegón or Still Life with Pottery Jars, by Francisco de Zur-barán. 1636, Oil on canvas; 46 x 84 cm; Museo del Prado,Madrid

In Spanish art, a bodegón is a still life painting depictingpantry items, such as victuals, game, and drink, often ar-ranged on a simple stone slab, and also a painting with oneor more figures, but significant still life elements, typi-cally set in a kitchen or tavern. Starting in the Baroque pe-riod, such paintings became popular in Spain in the sec-ond quarter of the 17th century. The tradition of still lifepainting appears to have started and was far more pop-ular in the contemporary Low Countries, today Belgiumand Netherlands (then Flemish and Dutch artists), thanit ever was in southern Europe. Northern still lifes hadmany subgenres: the breakfast piece was augmented bythe trompe-l'œil, the flower bouquet, and the vanitas. InSpain there weremuch fewer patrons for this sort of thing,but a type of breakfast piece did become popular, featur-ing a few objects of food and tableware laid on a table.

6.3 Body painting

Body painting is a form of body art. Unlike tattoo andother forms of body art, body painting is temporary,painted onto the human skin, and lasts for only several

10 6 IDIOMS

hours, or at most (in the case of Mehndi or “henna tat-too”) a couple of weeks. Body painting that is limited tothe face is known as face painting. Body painting is alsoreferred to as (a form of) temporary tattoo; large scale orfull-body painting is more commonly referred to as bodypainting, while smaller or more detailed work is generallyreferred to as temporary tattoos.

6.4 Figure painting

A Figure painting is a work of art in any of the paintingmedia with the primary subject being the human figure,whether clothed or nude. Figure painting may also referto the activity of creating such a work. The human fig-ure has been one of the contrast subjects of art since thefirst stone age cave paintings, and has been reinterpretedin various styles throughout history.[36] Some artists wellknown for figure painting are Peter Paul Rubens, EdgarDegas, and Édouard Manet.

Two Lovers by Reza Abbasi, 1630

6.5 Illustration painting

Illustration paintings are those used as illustrations inbooks, magazines, and theater or movie posters andcomic books. Today, there is a growing interest in col-lecting and admiring the original artwork. Various mu-seum exhibitions, magazines and art galleries have de-

voted space to the illustrators of the past. In the visual artworld, illustrators have sometimes been considered lessimportant in comparison with fine artists and graphic de-signers. But as the result of computer game and comic in-dustry growth, illustrations are becoming valued as popu-lar and profitable art works that can acquire a wider mar-ket than the other two, especially in Korea, Japan, HongKong and USA.

6.6 Landscape painting

Main article: Landscape artLandscape painting is a term that covers the depiction of

Painting by Andreas Achenbach, who specialized in the “sublime”mode of landscape painting, in which man is dwarfed by nature’smight and fury.[37] The Walters Art Museum.

natural scenery such as mountains, valleys, trees, rivers,and forests, and especially art where the main subject isa wide view, with its elements arranged into a coherentcomposition. In other works landscape backgrounds forfigures can still form an important part of the work. Sky isalmost always included in the view, and weather is oftenan element of the composition. Detailed landscapes asa distinct subject are not found in all artistic traditions,and developwhen there is already a sophisticated traditionof representing other subjects. The two main traditionsspring fromWestern painting and Chinese art, going backwell over a thousand years in both cases.

6.7 Portrait painting

Portrait paintings are representations of a person, inwhich the face and its expression is predominant. Theintent is to display the likeness, personality, and eventhe mood of the person. The art of the portrait flour-ished in Ancient Greek and especially Roman sculpture,where sitters demanded individualized and realistic por-traits, even unflattering ones. One of the best-known por-traits in the Western world is Leonardo da Vinci's paint-ing titled Mona Lisa, which is thought to be a portrait ofLisa Gherardini, the wife of Francesco del Giocondo.[38]

11

6.8 Still life

A still life is a work of art depicting mostly inanimatesubject matter, typically commonplace objects—whichmay be either natural (food, flowers, plants, rocks, orshells) or man-made (drinking glasses, books, vases, jew-elry, coins, pipes, and so on). With origins in the Mid-dle Ages and Ancient Greek/Roman art, still life paint-ings give the artist more leeway in the arrangement of de-sign elements within a composition than do paintings ofother types of subjects such as landscape or portraiture.Still life paintings, particularly before 1700, often con-tained religious and allegorical symbolism relating tothe objects depicted. Some modern still life breaks thetwo-dimensional barrier and employs three-dimensionalmixed media, and uses found objects, photography, com-puter graphics, as well as video and sound.

6.9 Veduta

A Veduta is a highly detailed, usually large-scale paint-ing of a cityscape or some other vista. This genre oflandscape originated in Flanders, where artists such asPaul Bril painted vedute as early as the 16th century. Asthe itinerary of the Grand Tour became somewhat stan-dardized, vedute of familiar scenes like the Roman Forumor the Grand Canal recalled early ventures to the Conti-nent for aristocratic Englishmen. In the later 19th cen-tury, more personal impressions of cityscapes replacedthe desire for topographical accuracy, which was satisfiedinstead by painted panoramas.

7 See also• 20th-century Western painting

• Cobweb painting

• Index of painting-related articles

• Outline of painting

8 Notes[1] “Paint[1] - Definition”. Merriam-webster.com. 2012-08-

31. Retrieved 2014-03-13.

[2] Perry, Lincoln (Summer 2014). “The Music of Painting”.The American Scholar 83 (3): 85.

[3] JohannWolfgang von Goethe, Goethe’s theory of colours,John Murray, London 1840

[4] Wassily Kandinsky Concerning The Spiritual In Art,[Translated By Michael T. H. Sadler, pdf.

[5] A letter to the Royal Society presenting A new theory oflight and colours Isaac Newton, 1671 pdf

[6] Pigments at ColourLex

[7] “How Old is Australia’s Rock Art?". Aboriginalarton-line.com. Retrieved 2014-03-13.

[8] http://www.bbc.co.uk/portuguese/noticias/2013/05/130523_pinturas_caverna_mexico_an

[9] Rollason, C., & Mittapalli, R. (2002). Modern criticism.New Delhi: Atlantic Publishers and Distributors. p. 196.ISBN 812690187X

[10] Craig, Edward. Routledge Encyclopedia of Philoso-phy: Genealogy to Iqbal, page 278. Routledge, 1998.Books.google.com. Retrieved 2014-03-13.

[11] “Painting and music are the specially romantic arts.Lastly, as a union of painting and music comes poetry,where the sensuous element is more than ever subordi-nate to the spirit.” Excerpted from Encyclopædia Britan-nica 1911

[12] Marcel Franciscono Paul Klee: His Work and Thought,part 6 'The Bauhaus and Düsseldorf', chap. 'Klee’s theorycourses’, p. 246 and under 'notes to pages 245–54' p.365

[13] Moshe Barasch (2000) Theories of art – from impression-ism to Kandinsky, part IV 'Abstract art', chap. 'Color'pp.332–3

[14] Jones, Howard (October 2014). “The Varieties of Aes-thetic Experience”. Journal for Spiritual & ConsciousnessStudies 37 (4): 541–252.

[15] Encyclopedia Encarta

[16] “Review by art historian David Cohen”. Artnet.com. Re-trieved 2014-03-13.

[17] Bell, Julian (2007). Mirror of the World: A New His-tory of Art. Thames and Hudson. p. 496. ISBN9780500238370.

[18] Mayer, Ralph,The Artist’s Handbook of Materials andTechniques, Third Edition, New York: Viking, 1970, p.312.

[19] Mayer, Ralph. The Artist’s Handbook of Materials andTechniques. Viking Adult; 5th revised and updated edi-tion, 1991. ISBN 0-670-83701-6

[20] Marjorie B. Cohn, Wash and Gouache, Fogg Museum,1977.

[21] Mayer, Ralph,The Artist’s Handbook of Materials andTechniques, Third Edition, New York: Viking, 1970, p.375.

[22] McNally, Rika Smith, “Enamel”, Oxford Art Online

[23] Mayer, Ralph,The Artist’s Handbook of Materials andTechniques, Third Edition, New York: Viking, 1970, p.371.

[24] John Barth (1979) The Literature of Replenishment, laterrepublished in The Friday Book'(1984)'.

12 11 EXTERNAL LINKS

[25] Gerald Graff (1975) Babbitt at the Abyss: The Social Con-text of Postmodern. American Fiction, TriQuarterly, No.33 (Spring 1975), pp. 307–37; reprinted in Putz andFreese, eds., Postmodernism and American Literature.

[26] Gardner, Helen, Horst De la Croix, Richard G. Tansey,and Diane Kirkpatrick. Gardner’s Art Through the Ages(San Diego: Harcourt Brace Jovanovich, 1991). ISBN 0-15-503770-6. p. 953.

[27] Rudolph Arnheim, Visual Thinking

[28] Key, Joan (September 2009). “Future Use: AbstractPainting”. Third Text 23 (5): 557–563.

[29] Shapiro, David/Cecile (2000): Abstract Expressionism.The politics of apolitical painting. p. 189-190 In:Frascina, Francis (2000): Pollock and After. The criti-cal debate. 2nd ed. London: Routledge

[30] Boddy-Evans, Marion. "Art Glossary: Action Painting".About.com. Retrieved 20 August 2006.

[31] Roger Cardinal, Outsider Art, London, 1972

[32] Lindey, Christine Superrealist Painting and Sculpture,William Morrow and Company, New York, 1980, pp.27–33.

[33] Chase, Linda, Photorealism at the Millennium, The Not-So-Innocent Eye: Photorealism in Context. Harry N.Abrams, Inc. New York, 2002. pp 14–15.

[34] Nochlin, Linda, The Realist Criminal and the AbstractLaw II, Art In America. 61 (November – December1973), P. 98.

[35] Bredekamp, Horst, Hyperrealism – One Step Beyond.Tate Museum, Publishers, UK. 2006. p. 1

[36] Droste, Flip (October 2014). “Cave Paintings of the EarlyStone Age”. Semiotica 2014 (202): 155–165.

[37] “Clearing Up—Coast of Sicily”. The Walters Art Mu-seum.

[38] “Mona Lisa – Portrait of Lisa Gherardini, wife ofFrancesco del Giocondo”. Louvre Museum. Retrieved2014-03-13.

9 References

• Alberti, Leone Battista, De Pictura (On Painting),1435. On Painting, in English, De Pictura, in Latin

• Doerner, Max – The Materials of the Artist andTheir Use in Painting: With Notes on the Tech-niques of the Old Masters

• Kandinsky – Concerning the Spiritual in Art (DoverPublications)

• The Journal of Eugene Delacroix (Phaidon Press)

• Masterpieces of painting.

• The Letters of Vincent van Gogh (Penguin Classics)

• Russian painters art in very high definition.

• Most famous painters art in very high definition.

10 Further reading• Daniel, H. (1971). Encyclopedia of Themes and

Subjects in Painting; Mythological, Biblical, Histor-ical, Literary, Allegorical, and Topical. New York:Harry N. Abrams Inc.

• W.Stanley Jr. Taft, James W. Mayer, The Scienceof Paintings, First Edition, Springer, 2000.

11 External links• WikiPaintings

• ArtLex Art Dictionary

• ColourLex Lexicon of paintings, pigments and sci-entific methods for investigating works of art.

13

12 Text and image sources, contributors, and licenses

12.1 Text• Painting Source: https://en.wikipedia.org/wiki/Painting?oldid=698109828 Contributors: Kpjas, Carey Evans, Marj Tiefert, Lee Daniel

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14 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Prashant Gupta, Doewiets, Chetankumar.Nagaraj.Sarvade, KABI STYLO, Trackteur, Davidcarlsonartwiki, Neerajdas1, Machomother23,5224Penguin, Siouxie Doo, KH-1, Pallawi devi, Inventpn, Studio.high, Eteethan, Wealthy&fruitful, Equint3, Fungunerfuner, KasparBot,Niscarpi, Rodeored2, Jurajlip, Македонец, Rkd1964, Noiamnotaperson, Big guy 99, Lilysmith1212, Ishaangrewal2001702, Bluemoonartand Anonymous: 734

12.2 Images• File:'Water_and_wine',_gouache_on_paper_by_Francesco_Clemente_1981.jpg Source: https://upload.wikimedia.org/wikipedia/en/

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