Painting

Painting is a visual art, which is characterized by the practice of applying paint, pigment, color or other medium to a solid surface
(called the "matrix"[1] or "support").[2] The medium is commonly applied to the base with a brush, but other implements, such as knives,
sponges, and airbrushes, may be 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 as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may
incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects.

Painting is an important form of visual art, bringing in elements such as drawing, composition, gesture, narration, and abstraction.[3]
Paintings can be naturalistic and representational (as in still life and landscape painting), photographic, abstract, narrative, symbolistic
(as in Symbolist 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 Mona Lisa (1503–1517) by

The oldest known paintings are approximately 40,000 years old, found in both the Franco-Cantabrian region in western Europe, and in Leonardo da Vinci is one of the
world's most recognizable paintings.
the caves in the district of Maros (Sulawesi, Indonesia). In November 2018, however, scientists reported the discovery of the then-oldest
known figurative art painting, over 40,000 (perhaps as old as 52,000) years old, of an unknown animal, in the
cave of Lubang Jeriji Saléh on the Indonesian island of Borneo (Kalimantan).[4][5] In December 2019, figurative
cave 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 world".[6][7] More recently, in 2021, cave art of a pig found in an Indonesian island,
and dated to over 45,500 years, has been reported.[8][9] However, the earliest evidence of the act of painting has
been discovered in two 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 old. Archaeologists have also found a
fragment of rock painting preserved in a limestone rock-shelter in the Kimberley region of North-Western
Australia, that is dated to 40,000 years old.[10] There are examples of cave paintings all over the world—in
Indonesia, France, Spain, Portugal, Italy, China, India, Australia, Mexico,[11] etc. In Western cultures, oil
painting and watercolor painting have rich and complex traditions in style and subject matter. In the East, ink
and color ink historically predominated the choice of media, with equally rich and complex traditions. An artistic depiction of a group of rhinos was painted in the
Chauvet Cave 30,000 to 32,000 years ago.
The invention of photography had a major impact on painting. In the decades after the first photograph was
produced in 1829, photographic processes improved and became more widely practiced, depriving painting of
much of its historic purpose to provide an accurate record of the observable world. A series of art movements in the late 19th and early
20th centuries—notably Impressionism, Post-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 same time.

Modern and Contemporary art has moved away from the historic value of craft and documentation in favour of concept. This has not
deterred the majority of living painters from continuing to practice painting either as 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 continue to make important works of art in a wide variety Prehistoric cave painting of aurochs
of styles and aesthetic temperaments—their merits are left to the public and the marketplace to judge. (French: Bos primigenius
primigenius), Lascaux, France
The Feminist art movement[12] began in the 1960s during the second wave of feminism. The movement sought to gain equal rights and
equal opportunities for female artists internationally.

Elements of painting

Color and tone

Color, made up of hue, saturation, and value, dispersed over a surface is the essence of painting, just 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 next. Black The oldest known figurative painting
is associated with mourning in the West, but in the East, white is. Some painters, theoreticians, writers, and scientists, including is a depiction of a bull that was
Goethe,[13] Kandinsky,[14] and Newton,[15] have written their own color theory. discovered in the Lubang Jeriji
Saléh cave in Indonesia. It was
Moreover, the use of language is only an abstraction for a color equivalent. The word "red", for example, can cover a wide range of painted 40,000–52,000 years ago or
earlier.
variations from the pure red of the visible spectrum of light. There is not a formalized register of different colors in the way that there is
agreement on different notes in music, such as F or C ♯ . For a painter, color is not simply divided into basic (primary) and derived
(complementary or mixed) colors (like red, blue, green, brown, etc.).

Painters deal practically with pigments,[16] so "blue" for a painter can be any of the blues: phthalocyanine blue, Prussian blue, indigo, Cobalt blue, ultramarine, and so on.
Psychological and symbolical meanings of color are not, strictly speaking, means of painting. Colors only 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 "light" 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 form a melody (in music) of
themselves; rather, they can add different contexts to it.

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

Rhythm
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 not 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, c. 1907)[17]

Chen Hongshou (1598–1652), Leaf

Rhythm, for artists such as Piet Mondrian,[18][19] is important in painting as it is in music. If one defines rhythm as "a pause incorporated album painting (Ming dynasty)
into a sequence", then there can be rhythm in paintings. These pauses allow creative force to intervene 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 it directly
affects the aesthetic value of that work. This is because the aesthetic value is functionality dependent, i.e. the freedom (of movement) of
perception is perceived as beauty. Free flow of energy, in art as well as in other forms of "techne", directly contributes to the aesthetic
value.[18]

Music was important to the birth of abstract art since music is abstract by nature—it does not try to represent the exterior world, but
expresses in an immediate way the inner feelings of the soul. Wassily Kandinsky often used musical terms to identify his works; he called
his most spontaneous paintings "improvisations" and described more elaborate works as "compositions". Kandinsky theorized that
"music is the ultimate teacher",[20] and subsequently embarked upon the first seven of his ten Compositions. Hearing tones and chords Georges Seurat, Circus Sideshow
as he painted, Kandinsky theorized that (for example), yellow is the color of middle C on a brassy trumpet; black is the color of closure, (French: Parade de cirque) (1887–
and the end of things; and that combinations of colors produce vibrational frequencies, akin to chords played on a piano. In 1871 the 88)
young Kandinsky learned to play the piano and cello.[21][22] Kandinsky's stage design for a performance of Mussorgsky's Pictures at an
Exhibition illustrates his "synaesthetic" concept of a universal correspondence of forms, colors and musical sounds.[23]

Music defines much of modernist abstract painting. Jackson Pollock underscores that interest with his 1950 painting Autumn Rhythm
(Number 30).[24]

Aesthetics and theory

Aesthetics is the study of art and beauty; it was an important issue for 18th- and 19th-century philosophers such as Kant and Hegel.
Classical philosophers like Plato and Aristotle also theorized about art and painting in particular. Plato disregarded painters (as well as
sculptors) in his philosophical system; 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 iron casting.[25] By 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: painting is a thing of the mind").[26] Kant distinguished between Beauty and the Sublime, in terms that clearly gave
priority to the former. Although he did not refer to painting in particular, this concept was taken up by painters such as J.M.W. Turner
and Caspar David Friedrich.
Jean Metzinger, La danse
Hegel recognized the failure of attaining a universal concept of beauty and, in his aesthetic essay, wrote that painting is one of the three (Bacchante) (c. 1906), oil on
canvas, 73 x 54 cm, Kröller-Müller
"romantic" arts, along with Poetry and Music, for its symbolic, highly intellectual purpose.[27][28] Painters who have written theoretical
Museum
works on painting include Kandinsky and Paul Klee.[29][30] 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 style. Erwin Panofsky and other
art historians first seek to understand the things depicted, before looking at their meaning for the
viewer at the time, and finally analyzing their wider cultural, religious, and social meaning.[31]

In 1890, the Parisian painter Maurice Denis famously asserted: "Remember that a painting—before
being a warhorse, a naked woman or some story or other—is essentially a flat surface covered with
colors assembled in a certain order."[32] Thus, many 20th-century developments in painting, such as
Cubism, were reflections on the means of painting rather than on the external world—nature—which
had previously been its core subject. Recent contributions to thinking about painting have been
Female painter sitting on a offered by the painter and writer Julian Bell. In his book What is Painting?, Bell discusses the Piet Mondrian, Composition en
campstool and painting a statue of development, through history, of the notion that paintings can express feelings and ideas.[33] In rouge, jaune, bleu et noir (1921),
Dionysus or Priapus onto a panel Mirror of The World, Bell writes: Gemeentemuseum Den Haag
which is held by a boy. Fresco from
Pompeii, 1st century A work of art seeks to hold your attention and keep it fixed: a history of art urges it
onwards, bulldozing a highway through the homes of the imagination.[34]

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

Hot wax or encaustic

Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is
then applied to a surface—usually prepared wood, though canvas and other materials are often used. The simplest encaustic mixture can be Nino Pisano, Apelles or the
made from adding pigments to beeswax, but there are several other recipes that can be used—some containing other types of waxes, damar Art of painting in detail
(1334–1336); relief of the
resin, linseed oil, or other ingredients. Pure, powdered pigments can be purchased and used, though some mixtures use oil paints or other forms
Giotto's Bell Tower in
of pigment. Metal tools and special brushes can be used to shape the paint before it cools, or heated metal tools can be used to manipulate the
Florence, Italy
wax once it has cooled onto the surface. Other materials can be encased or collaged into the surface, or layered, using the encaustic medium to
adhere it 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
Watercolor is a painting method in which the paints are made of pigments suspended in a water-
soluble vehicle. The traditional and most common support for watercolor paintings is paper; other
supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood and canvas. In East
Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese,
Korean, and Japanese painting it has been the dominant medium, often in monochrome black or
browns. India, Ethiopia and other countries also have long traditions. Finger-painting with
watercolor paints originated in China. There are various types of watercolors used by artists. Some
John Martin, Manfred on the examples are pan watercolors, liquid watercolors, watercolor brush pens, and watercolor pencils.
Jungfrau (1837), watercolor Watercolor pencils (water-soluble color pencils) may be used either wet or dry.

Gouache
Gouache is a water-based paint consisting of pigment and other materials designed to be used in an
opaque painting method. Gouache differs from watercolor in that the particles are larger, the ratio of
pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present.
Encaustic icon from Saint
This makes gouache heavier and more opaque, with greater reflective qualities. Like all water media, Catherine's Monastery, Egypt (6th-
it is diluted with water.[35] Gouache was a popular paint utilized by Egyptians,[36] Painters such as century)
Francois Boucher used this medium. This paint is best applied with sable brushes.

Ceramic Glaze Glazing is commonly known as a premelted liquid glass. This glaze can be dipped or brushed on. This glaze appears chalky
Rudolf Reschreiter, Blick von der and there is a vast difference between the beginning and finished result. To be activated glazed pottery must be placed in a kiln to be
Höllentalangerhütte zum fired. This melts the Silica glass in the glaze and transforms it into a vibrant glossy version of itself.[37] [38]
Höllentalgletscher und den
Riffelwandspitzen, Gouache (1921)
Ink
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 be 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 flow and thickness of the ink and its appearance when dry.

Enamel
Enamels are made by painting a substrate, typically metal, with powdered glass; minerals called color oxides provide coloration. After Sesshū Tōyō, Landscapes of the
Four Seasons (1486), ink and light
firing at a temperature of 750–850 degrees Celsius (1380–1560 degrees Fahrenheit), the result is a fused lamination of glass and metal.
color on paper
Unlike most painted techniques, the surface can be handled and wetted Enamels have traditionally been used for decoration of precious
objects,[39] but have also been used for other purposes. Limoges enamel was the leading centre of Renaissance enamel
painting, with small religious and mythological scenes in decorated 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.[40] In the late
20th century, the technique of porcelain enamel on metal has been used as a durable medium for outdoor murals.[41]

Tempera
Tempera, also known as egg tempera, is a permanent, fast-drying painting medium
consisting of colored pigment mixed with a water-soluble binder medium (usually a
glutinous material such as egg yolk or some other size). Tempera also refers to the
paintings done in this medium. Tempera paintings are very long-lasting, and examples
from the first centuries CE still exist. Egg tempera was a primary method of painting until
after 1500 when it was superseded by the invention of oil painting. A paint commonly Jean de Court (attributed), painted Limoges
called tempera (though it is not) consisting of pigment and glue size is commonly used and enamel dish in detail (mid-16th century),
Sandro Botticelli, The Birth of referred to by some manufacturers in America as poster paint. Waddesdon Bequest, British Museum
Venus, Tempera (1485–1486)

Fresco
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 time
periods. Buon fresco technique consists of painting in pigment mixed with water 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 binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

Oil
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 modern Europe. Often the oil was boiled with a resin
such as pine resin or even frankincense; these were called 'varnishes' and were prized for their body
and gloss. Oil paint eventually became the principal medium used for creating artworks as 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
White Angel (fresco, c. 1235), replaced tempera paints in the majority of Europe.
Mileševa monastery, Serbia

Pastel Honoré Daumier, The Painter

(1808–1879), oil on panel with
Pastel is a painting medium in the form of a stick, consisting of pure powdered pigment and a binder.[42]The pigments used in pastels visible brushstrokes
are the same as those used to produce all colored art media, including oil paints; the binder is of a neutral hue and low saturation. The
color effect of pastels is closer to the natural dry pigments than that of any other process.[43] Because the surface of a pastel painting is
 fragile and easily smudged, its preservation requires protective measures such as framing under glass; it may also be sprayed with a
fixative. Nonetheless, 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 as it dries.

Acrylic
Acrylic paint is fast drying paint containing pigment suspension in acrylic polymer emulsion. Acrylic
paints can be diluted with water but become water-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 not
attainable with other media. The main practical difference between most acrylics and oil paints is the
inherent drying time.[44] Oils allow for more time to blend colors and apply even glazes over under-
Maurice Quentin de La Tour, Portrait
paintings. This slow drying aspect of oil can be seen as an advantage for certain techniques but may
of Louis XV of France (1748), pastel also impede the artist's ability to work quickly. Another difference is that watercolors must be painted
onto a porous surface, primarily watercolor paper. Acrylic paints can be used on many different Ray Burggraf, Jungle Arc (1998),
surfaces.[44][45] Both acrylic and watercolor are easy to clean up with water. Acrylic paint should be acrylic paint on wood
cleaned with soap and water immediately following use. Watercolor paint can be cleaned with just water.[46][47][48]

Between 1946 and 1949, Leonard Bocour and Sam Golden invented a solution acrylic paint under the brand Magna paint. These were mineral spirit-based paints. Water-
based acrylic paints were subsequently sold as latex house paints.[49] In 1963, George Rowney (part of Daler-Rowney since 1983) was the first manufacturer to introduce
artists' acrylic paints in Europe, under the brand name "Cryla".[50] Acrylics are the most common paints used in grattage, a surrealist technique that began to be used with
the advent of this type of paint. Acrylics are used for this purpose because they easily scrape or peel from a surface.[51]

Spray paint
Aerosol paint (also called spray paint)[52] is a type 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. Aerosol primer can be applied
directly to bare metal and many plastics.

Speed, portability and permanence also make aerosol paint a common graffiti medium. In the late 1970s, street graffiti writers' signatures and murals became more
elaborate, and a unique style developed as a factor of the aerosol medium and the speed required for illicit work. Many now recognize graffiti and street art as a unique art
form and specifically manufactured aerosol paints are made for the graffiti artist. A stencil protects a surface, except the specific shape to be painted. Stencils can be
purchased as movable letters, ordered as professionally cut logos or hand-cut by artists.

Water miscible oil paint

Water miscible oil paints (also called "water soluble" or "water-mixable") is a modern variety of oil paint engineered to be thinned and cleaned up with water,[53][54] rather
than having to use chemicals such as turpentine. It can be mixed and applied using the same techniques as traditional oil-based paint, but while still wet it can be effectively
removed from brushes, palettes, and rags with ordinary soap and water. Its water solubility comes from the use of an oil medium in which one end of the molecule has been
altered to bind loosely to water molecules, as in a solution.

Sand
Sandpainting is the art of pouring coloured sands, and powdered pigments from minerals or crystals, or pigments from other natural or synthetic sources onto a surface to
make a fixed or unfixed sand painting.

Digital painting
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 paint, oils, ink, watercolor, etc. and applies the pigment to traditional carriers, such as woven canvas cloth, paper, polyester, etc.
by means of software driving industrial robotic or office machinery (printers). As a technique, it refers to a computer 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 different look and feel from an artwork that is made the traditional way. Furthermore, digital painting is not 'computer-generated' art as the computer does not
automatically create images on the screen using some mathematical calculations. On the other hand, the artist uses his own painting technique to create a particular piece of
work on the computer.[55]

Other- Unruly Painting Methods. Painting is not confined to one method over another. Artists such as Andy Warhol Explored the limits of painting. Oxidization [56] was
utilized by Andy Warhol as he painted canvases sprawled on the ground. He then had his assistants and friends urinate on the still-wet[57] Paint to witness the visible
changes that would occur.

Menstrual Painting Other interesting painting mediums have helped women and menstruating individuals gain freedom and liberty over their bodies. Blood from menstrual
periods has been used to paint images across the world for centuries [58] Sarah Maple, a contemporary artist, has used her menstrual blood to create portraits to help erase
the taboo covering the topic of periods.

Painting styles
Style is used in two senses: It can refer to the distinctive visual elements, techniques, and methods that typify an individual artist's work. It can also refer to the movement or
school that an artist is associated with. This can stem from an actual group that the artist was consciously involved with or it can be 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 it continues to be used in popular
contexts. Such movements or classifications include the following:

Western

Modernism
Modernism describes both a set of cultural tendencies and an array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western
society in the late 19th century and early 20th century. Modernism was a revolt against the conservative values of realism.[59][60] 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 conditions of an emerging fully industrialized world. A salient characteristic of modernism is self-consciousness. This often led to experiments with form,
and work that draws attention to the processes and materials used (and to the further tendency of abstraction).[61]

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

Abstract styles
Abstract painting uses a visual language of form, colour and line to create a composition that may exist with a degree of independence Claude Monet's 1872 Impression,
Sunrise inspired the name of the
from visual references in the world.[62][63] Abstract expressionism was an American post-World War II art movement that combined the
movement
emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools—
such as Futurism, Bauhaus and Cubism, and the image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[64]

Action painting, sometimes called gestural abstraction, is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than
being carefully applied.[65] The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. The style
was widespread from the 1940s until the early 1960s and is closely associated with abstract expressionism (some critics have used the terms "action painting" and "abstract
expressionism" interchangeably).

Other modernist styles include:

Color Field
Lyrical Abstraction
Hard-edge painting
Pop art

Outsider art
The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created by French
artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by insane-asylum inmates.[66] Outsider art has
emerged as a successful art marketing category (an annual Outsider Art Fair has taken place in New York since 1992). The term is sometimes misapplied as a catch-all
marketing label for art created by people outside the mainstream "art world," regardless of their circumstances or the content of their work.

Photorealism
Photorealism is the genre of painting based on using the camera and photographs to gather information 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 late 1960s and early 1970s. As a full-
fledged art movement, Photorealism evolved from Pop Art[67][68][69] and as a counter to Abstract Expressionism.

Hyperrealism is a genre of painting and sculpture resembling a high-resolution photograph. Hyperrealism is a fully-fledged school of art and can be considered an
advancement 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 United States and Europe that has developed since the early 2000s.[70]

Surrealism
Surrealism is a cultural movement that began in the early 1920s and is best known for the artistic and literary production 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 as an expression of the philosophical movement first 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 World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread
around the globe, eventually affecting the visual arts, literature, film and music of many countries, as well as political thought and practice, philosophy and social theory.

East Asian
Chinese
Tang Dynasty
Ming Dynasty
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 Liang Kai, Drunken Celestial (12th
century), ink on Xuan paper
Korean

Southeast Asia
Indonesian

Islamic
Arabic miniature
Ottoman miniature
Persian miniature
Calligraphy Yun Bing, Album Leaf (17th
century), ink and color on paper

Indian

Miniature painting
Miniature paintings were the primary form of painting in pre-colonial India. These were done on a special paper (known as wasli) using mineral and natural colours.
Miniature painting is not one style but a group of several styles of schools of painting such as Mughal, Pahari, Rajasthani, Company style etc.

Mughal miniature painting is a particular style of South Asian, particularly North Indian (more specifically, modern day India and Pakistan), painting confined to
miniatures either as book illustrations or as single works to be kept in albums (muraqqa). It emerged[71] from Persian miniature painting (itself partly of Chinese origin) and
developed 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 main subject of many miniatures for albums, and were more realistically depicted.[72][73][74]

Rajasthani painting evolved and flourished in the royal courts of Rajputana[75] in northern India, mainly during the 17th century. Artists trained in the tradition of the
Mughal miniature were dispersed from the

imperial Mughal court, and developed styles also drawing from local traditions of painting, especially those illustrating the Sanskrit
Epics, the Mahabharata and Ramayana. Subjects varied, but portraits of the ruling family, often engaged in hunting or their daily
activities, were generally popular, as were narrative scenes from the epics or Hindu mythology, as well as some genre scenes of
landscapes, and humans.[76][77][78] Punjab Hills or Pahari painting of which Kangra, Guller, Basholi were major sub-styles. Kangra
painting is the pictorial art of Kangra, named after 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.[79][80] 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.[81] The artists adopted themes from the love poetry of Jayadeva and Keshav Das who wrote ecstatically of the love of Radha
and Krishna with Bhakti being the driving force.[82][83]

Company style is a term for a hybrid Indo-European style of paintings made in India by Indian
artists, many of whom worked for European patrons in the British East India Company or other
foreign Companies in the 18th and 19th centuries.[84] Three distinct styles of Company Painting Krishna and Radha, might be the
emerged in three British Power Centres – Delhi, Calcutta and Madras. The subject matter of company work of Nihâl Chand, master of
paintings made for western patrons was often documentary rather than imaginative, and as a Kishangarh school of Rajput
consequence, the Indian artists were required to adopt a more naturalistic approach to painting than Painting
had traditionally been usual.[85][86]

Khan Bahadur Khan with Men of his The Sikh style and Deccan style are other prominent Miniature painting styles of India.
Clan, c. 1815, from the Fraser
Album, Company Style
Pichwai painting
Pichwai paintings are paintings on textile and usually depicting stories from the life of Lord Krishna.[87] These were made in large format and often used as a backdrop to the
main idol in temples or homes. Pichwai paintings were made and are still made mainly in Rajasthan, India. However very few were made in the Deccan region, but these are
extremely rare. The purpose of pichhwais, other than artistic appeal, is to narrate tales of Krishna to the illiterate. Temples have sets with different images, which are
changed according to the calendar of festivals celebrating the deity.[88]

Folk and tribal art

Pattachitra is a general term for traditional, cloth-based scroll painting, based in the eastern Indian states of Odisha and West Bengal.[89] The Pattachitra painting tradition
is closely linked with the worship of Lord Jagannath in Odisha.[90] The subject matter of Pattachitra is limited to religious themes. Patachitra artform is known for its
intricate details as well as mythological narratives and folktales inscribed in it. All colours used in the Paintings are natural and paintings are made fully old traditional way
by Chitrakaras that is Odiya Painter. Pattachitra style of painting is one of the oldest and most popular art forms of Odisha. Patachitras are a component of an ancient
Bengali narrative art, originally serving as a visual device during the performance of a song.[91][92][93]

Madhubani 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 representing ritual content used for particular occasions like festivals, religious rituals etc.[94]

Warli is another folk tribal art form from India.

Bengal School
The Bengal School[95] was an art movement and a style 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.[96] The Bengal school arose as an avant garde and nationalist movement reacting against the academic
art styles previously promoted in India, both by Indian artists such as Raja Ravi Varma and in British art schools. The school wanted to establish a distinct Indian style which
celebrated the indigenous cultural heritage. In an attempt to reject colonial aesthetics, Abanindranath Tagore also turned to 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.[97][98][99]

Others

Mysore painting is an important form of classical South Indian painting that originated in and around the town of Mysore in Karnataka
encouraged and nurtured by 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.[100][101]
Samikshavad
Tanjore
Kerala mural painting

African
Tingatinga

19th Century Mysore Painting Contemporary art

of Goddess Saraswathi

1950s 1960s 1970s 1980s 1990s 2000s

Abstract Expressionism Abstract expressionism Arte Povera Appropriation art Bio art Digital Painting
American Figurative American Figurative Ascii Art Culture jamming Cyberarts Hyperrealism
Expressionism Expressionism Bad Painting Demoscene Cynical Realism Classical Realism
Bay Area Figurative Abstract Imagists Body art Electronic art Digital Art Relational art
Movement Bay Area Figurative Artist's book Figuration Libre Information art Street art
Lyrical Abstraction Movement
Feminist art Graffiti Art Internet art Stuckism
New York Figurative Color field
Installation art Live art Massurrealism Superflat
Expressionism Computer art
Land Art Mail art Maximalism Pseudorealism
New York School Conceptual art
Lowbrow (art Postmodern art New media art Videogame art
Fluxus movement) Neo-conceptual art Software art Superstroke
Happenings Photorealism Neo-expressionism New European Painting VJ art
Hard-edge painting Postminimalism Neo-pop Young British Artists Virtual art
Lyrical Abstraction Process Art Sound art
Minimalism Video art Transgressive art
Neo-figurative Funk art Video installation
Neo-Dada Pattern and Decoration Institutional Critique
New York School
NeoGeo
Nouveau Réalisme
Op Art
Performance art
Pop Art
Postminimalism
Washington Color
School
Kinetic art

Types of painting

Allegory
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. Allegory is generally treated as a figure of rhetoric, but an allegory does not have to be expressed in language: it may be addressed to the eye and is
often found in realistic painting. An example of a simple visual allegory is the image of the grim reaper. Viewers understand that the image of the grim reaper is a symbolic
representation of death.

Bodegón
In Spanish art, a bodegón is a still life painting depicting pantry items, such as victuals, game, and drink, often arranged on a simple
stone slab, and also a painting with one or more figures, but significant still life elements, typically set in a kitchen or tavern. Starting in
the Baroque period, such paintings became popular in Spain in the second quarter of the 17th century. The tradition of still life painting Francisco de Zurbarán, Still Life with
appears to have started and was far more popular in the contemporary Low Countries, today Belgium and Netherlands (then Flemish and Pottery Jars (Spanish: Bodegón de
Dutch artists), than it ever was in southern Europe. Northern still lifes had many subgenres: the breakfast piece was augmented by the recipientes) (1636), oil on canvas,
trompe-l'œil, the flower bouquet, and the vanitas. In Spain, there were much fewer patrons for this sort of thing, but a type of breakfast 46 x 84 cm, Museo del Prado,
piece did become popular, featuring a few objects of food and tableware laid on a table. Madrid

Figure painting
A figure painting is a work of art in any of the painting media with the primary subject being the human figure, whether clothed or nude.
Figure painting may also refer to the activity of creating such a work. The human figure has been one of the contrast subjects of art since
the first Stone Age cave paintings and has been reinterpreted in various styles throughout history.[102] Some artists well known for figure
painting are Peter Paul Rubens, Edgar Degas, and Édouard Manet.

Illustration painting
Illustration paintings are those used as illustrations in books, magazines, and theater or movie posters and comic books. Today, there 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 art world, illustrators have sometimes been considered less important in comparison
with fine artists and graphic designers. But as the result of computer game and comic industry growth, illustrations are becoming valued
as popular and profitable artworks that can acquire a wider market than the other two, especially in Korea, Japan, Hong Kong and the
United States.

The illustrations of medieval codices were known as illuminations, and were individually hand-drawn and painted. With the invention of
the printing press during the 15th century, books became more widely distributed, and often illustrated with woodcuts.[103][104] In Reza Abbasi, Two Lovers (1630)
America, this led to a "golden age of illustration" from before the 1880s until the early 20th century. A small group of illustrators became
highly successful, with the imagery they created considered a portrait of American aspirations of the time.[105] Among the best-known
illustrators of that period were N.C. Wyeth and Howard Pyle of the Brandywine School, James Montgomery Flagg, Elizabeth Shippen Green, J. C. Leyendecker, Violet
Oakley, Maxfield Parrish, Jessie Willcox Smith, and John Rea Neill. In France, on 1905, the Contemporary Book Society commissioned Paul Jouve to illustrate Rudyard
Kipling's Jungle Book. Paul Jouve will devote ten years to the 130 illustrations of this book which will remain as one of the masterpieces of bibliophilia.[106]

Landscape painting
Landscape painting is a term that covers the depiction of natural scenery such as mountains, valleys, trees, rivers, lakes, and forests, and
especially art where the main subject is a wide view, with its elements arranged into a coherent composition. In other works, landscape
backgrounds for figures can still form an important part of the work. The sky is almost always included in the view, and weather is often
an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions and develop when there is
already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art,
going back well over a thousand years in both cases.

Andreas Achenbach, Clearing Up, Portrait painting

Coast of Sicily (1847), The WaltersPortrait paintings are representations of a person, in which the face and its expression is
Art Museum[107][108] predominant. The intent is to display the likeness, personality, and even the mood of the person. The
art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters
demanded individualized and realistic portraits, even unflattering ones. One of the best-known
portraits in the Western world is Leonardo da Vinci's painting titled Mona Lisa, which is thought to be a portrait of Lisa Gherardini, the
wife of Francesco del Giocondo.[109]

Warhol was one of the most prolific portrait painters of the 20th century. Warhol's painting Orange Shot Marilyn of Marilyn Monroe is
an iconic early example of his work from the 1960s, and Orange Prince (1984) of the pop singer Prince is later example, both exhibiting
Warhol's unique graphic style of portraiture.[110][111][112]

Still life
A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects—which may be either natural (food,
flowers, plants, rocks, or shells) or human-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the
Ned Bittinger, Portrait of Abraham
Middle Ages and Ancient Greek/Roman art, still life paintings give the artist more leeway in the arrangement of design elements within a Lincoln in Congress (2004), US
composition than do paintings of other types of subjects such as landscape or portraiture. Still life paintings, particularly before 1700, Capitol
often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional
barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and
sound.

Veduta
A veduta is a highly detailed, usually large-scale painting of a cityscape or some other vista. This genre of landscape originated in Flanders, where artists such as Paul Bril
painted vedute as early as the 16th century. As the itinerary of the Grand Tour became somewhat standardized, vedute of familiar scenes like the Roman Forum or the Grand
Canal recalled early ventures to the Continent for aristocratic Englishmen. In the later 19th century, more personal impressions of cityscapes replaced the desire for
topographical accuracy, which was satisfied instead by painted panoramas.

See also
20th-century Western painting
Cobweb painting
Drawing
 Fine art
Graphic arts
Index of painting-related articles
List of most expensive paintings
Outline of painting
Performance art
Painting outsourcing in China
Visual arts
Image

Notes
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Further reading
Howard Daniel (1971). Encyclopedia of Themes and Subjects in Painting: Mythological, Biblical, Historical, Literary, Allegorical, and Topical. New York: Harry N. Abrams
Inc.
W. Stanley Taft Jr. and James W. Mayer (2000). The Science of Paintings. Springer-Verlag.

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