Painting is a visual art, which is characterized by the practice of applying paint, pigment, color or other medium to a solid surface (called "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, may be used. One who produces paintings is called a painter.
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.
The tradition was founded in Scotland in the late eighteenth century by David Allan, who moved from classical and mythological themes to scenes of everyday life, including his most famous work Illustrations of the Gentle Shepherd. As a result he earned the title of "the Scottish Hogarth". By the end of the eighteenth century genre art had become a Scottish speciality. The tradition was successfully taken up by David Wilkie, who was one of the most internationally influential artists of this day. (Full article...)
Image 2
Carved and inlaid Late Baroque supraporte in Toruń, Poland
An "overdoor" (or "Supraporte" as in German, or "sopraporte" as in Italian) is a painting, bas-relief or decorative panel, generally in a horizontal format, that is set, typically within ornamental mouldings, over a door, or was originally intended for this purpose. (Full article...)
Image 3
In painting, local color is the color of an object when seen under flat white light with no adjustment for form shadow or colors of light or secondary light sources. An example would be the assumption that an apple is "red" when it is actually dependent on the color of the light hitting it, color of objects around it, glossiness, and variations within the colors on the surface of the apple itself. Local color is learned in childhood to help simplify and make sense of the world. "The sky is blue", "grass is green", etc. when there are actually myriad variations in hue, chroma, within these areas. In order to represent objects realistically, painters must look beyond the simplifications of local color. Demonstrations of color constancy show how flawed local color assumptions can be when the light source has a color shift.
In contemporary sculpture local color is the original color of the raw material that remains unpainted in the completed work. (Full article...)
Oil painting reproductions are distinct from original oil painting such as are often of interest to collectors and museums. Oil painting reproduction can, however, sometimes be regarded as artworks in themselves. (Full article...)
Image 5
A binder or binding agent is any material or substance that holds or draws other materials together to form a cohesive whole mechanically, chemically, by adhesion or cohesion.
More narrowly, binders are liquid or dough-like substances that harden by a chemical or physical process and bind fibres, filler powder and other particles added into it. Examples include glue, adhesive and thickening. (Full article...)
Initially influenced by Toulouse-Lautrec, Gauguin, and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere, and cone. With the painting Les Demoiselles d'Avignon (1907; see gallery) Picasso created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new proto-Cubist inventions. Analytic cubism, exemplified by Violin and Candlestick, Paris, was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. (Full article...)
Inscape, in visual art, is a term especially associated with certain works of Chilean artist Roberto Matta, but it is also used in other senses within the visual arts. Though the term inscape has been applied to stylistically diverse artworks, it usually conveys some notion of representing the artist's psyche as a kind of interior landscape. The word inscape can therefore be read as a kind of portmanteau, combining interior (or inward) with landscape. (Full article...)
Image 9
In art criticism of the 1960s and 1970s, flatness described the smoothness and absence of curvature or surface detail of a two-dimensional work of art. (Full article...)
Image 10
Signwriters painting a KB Lager advertisement on the side of a building in Australia Signwriters design, manufacture and install signs, including advertising signs for shops, businesses and public facilities as well as signs for transport systems. (Full article...)
Tenebrism, from Italiantenebroso ('dark, gloomy, mysterious'), also occasionally called dramatic illumination, is a style of painting using especially pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and is common in Baroque paintings. Tenebrism is used only to obtain a dramatic impact while chiaroscuro is a broader term, also covering the use of less extreme contrasts of light to enhance the illusion of three-dimensionality. (Full article...)
Image 12
An artist working on a watercolor using a round brush Watercolor (American English) or watercolour (Commonwealth English; see spelling differences), also aquarelle (French:[akwaʁɛl]; from Italian diminutive of Latin aqua 'water'), is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork. Aquarelles painted with water-soluble colored ink instead of modern water colors are called aquarellum atramento (Latin for "aquarelle made with ink") by experts. However, this term has now tended to pass out of use.
The conventional and most common support—material to which the paint is applied—for watercolor paintings is watercolor paper. Other supports or substrates include stone, ivory, silk, reed, papyrus, bark papers, plastics, vellum, leather, fabric, wood, and watercolor canvas (coated with a gesso that is specially formulated for use with watercolors). Watercolor paper is often made entirely or partially with cotton. This gives the surface the appropriate texture and minimizes distortion when wet. Watercolor papers are usually cold-pressed papers that provide better texture and appearance. Transparency is the main characteristic of watercolors. "It consists of a mixture of pigments, binders such as gum arabic and humectants such as glycerin, which together with other components, allow the color pigment to join and form the paint paste, which we know as watercolor. With regard to the colors, the quality of the pigments and their degree of concentration, it is what determines how good the watercolor is and also its price. A paint that has a high concentration of pigment, professional type, allows us to use it with a large amount of water without losing the intensity of color." Viscarra (2020, p. 47) harvtxt error: no target: CITEREFViscarra2020 (help)</ref> Watercolors can also be made opaque by adding Chinese white. This is not a method to be used in "true watercolor" (traditional). (Full article...)
Image 13
The old City Hall of Amsterdam by Pieter Jansz. Saenredam, 1657, Rijksmuseum,Amsterdam Architectural painting (also Architecture painting) is a form of genre painting where the predominant focus lies on architecture, including both outdoor and interior views. While architecture was present in many of the earliest paintings and illuminations, it was mainly used as background or to provide rhythm to a painting. In the Renaissance, architecture was used to emphasize the perspective and create a sense of depth, like in Masaccio's Holy Trinity from the 1420s.
In Western art, architectural painting as an independent genre developed in the 16th century in Flanders and the Netherlands, and reached its peak in 16th and 17th century Dutch painting. Later, it developed in a tool for Romantic paintings, with e.g. views of ruins becoming very popular. Closely related genres are architectural fantasies and trompe-l'oeils, especially illusionistic ceiling painting, and cityscapes. (Full article...)
Initially serving imperial, private, civic, and religious patronage, Western painting later found audiences in the aristocracy and the middle class. From the Middle Ages through the Renaissance painters worked for the church and a wealthy aristocracy. Beginning with the Baroque era artists received private commissions from a more educated and prosperous middle class. The idea of "art for art's sake" began to find expression in the work of the Romantic painters like Francisco de Goya, John Constable, and J. M. W. Turner. During the 19th century commercial galleries became established and continued to provide patronage in the 20th century. (Full article...)
A coloring book (British English: colouring-in book, colouring book, or colouring page) is a type of book containing line art to which people are intended to add color using crayons, colored pencils, marker pens, paint or other artistic media. Traditional coloring books and coloring pages are printed on paper or card. Some coloring books have perforated edges so their pages can be removed from the books and used as individual sheets. Others may include a story line and so are intended to be left intact. Today, many children's coloring books feature popular characters. They are often used as promotional materials for motion pictures and television. Coloring books may also incorporate other activities such as connect the dots, mazes and other puzzles. Some also incorporate the use of stickers. (Full article...)
A combine painting or Combine is an artwork that incorporates elements of both painting and sculpture. Items attached to paintings might include three-dimensional everyday objects such as clothing or furniture, as well as printed matter including photographs or newspaper clippings.
The term is most closely associated with the artwork of American artist Robert Rauschenberg (1925–2008) who coined the phrase Combine to describe his own artworks that explore the boundary between art and the everyday world. By placing them in the context of art, he endowed a new significance to ordinary objects. These cross-medium creations challenged the doctrine of medium specificity mentioned by modernist art critic Clement Greenberg. (Full article...)
Image 18
Live painting by Beo Beyond at Shôko Club in Barcelona, working with fluorescent colors which glow under blacklight. Live painting is a form of visual performance art in which artists complete a visual art piece in a public performance, often at a bar, music concert, wedding reception, or public event, accompanied by a DJ or live music. The artwork which is created live may be planned or improvisational. This live art form is often contrasted with more studied fine art compositions from the same artists, which are generally executed in an artist studio or other private space.
Rear view of the Louvre's prime version of Antonio Canova's Psyche Revived by Cupid's Kiss, 1793 In the art world, if an artwork exists in several versions, the one known or believed to be the earliest is called the prime version. Many artworks produced in media such as painting or carved sculpture which create unique objects are in fact repeated by their artists, often several times. It is regarded as a matter of some importance both by art historians and the art market to establish which version has "priority", that is to say was the original work. The presumption usually is that the prime version is the finest, and perhaps the most carefully done, though some later versions can be argued to improve on the originals.
In many periods the later "repetitions" were often produced by the workshop of the master, with varying degrees of supervision and direct attention from him. This was especially the case with official portraits of monarchs and politicians, which in the Early Modern period were often ordered in large numbers of versions from the court artist as diplomatic gifts. "Prime version" is normally only used when there is another version by the same artist, or his workshop. Other versions by other artists are called copies. Sometimes "reduced versions" that are considerably smaller than the prime one are made. Especially in the case of 19th-century repetitions, the term autograph replica is used of repetitions by the original artist. (Full article...)
In America, James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term, and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. The use of the term "nocturne" can be associated with the Tonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood." Along with winter scenes, nocturnes were a common Tonalist theme. Frederic Remington used the term as well for his nocturne scenes of the American Old West. (Full article...)
Image 21
The Golden Apple of Discord at the wedding of Peleus and Thetis, Jacob Jordaens, 1633, 181 cm × 288 cm (71 in × 113 in), oil on canvas
A figure painting is a work of fine 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 constant subjects of art since the first Stone Age cave paintings, and has been reinterpreted in various styles throughout history.
Unlike figure drawings which are usually nudes, figure paintings are often clothed depictions which may be either historically accurate or symbolic. Figure painting is not synonymous with figurative art, which may depict real objects of any kind (including humans and animals). (Full article...)
Image 22
Alberto Baumann, "Inheritance of the Twentieth Century" (1980). In visual art, mixed media describes artwork in which more than one medium or material has been employed. Assemblages, collages, and sculpture are three common examples of art using different media. Materials used to create mixed media art include, but are not limited to, paint, cloth, paper, wood and found objects.
Mixed media art is distinguished from multimedia art which combines visual art with non-visual elements, such as recorded sound, literature, drama, dance, motion graphics, music, or interactivity. (Full article...)
Strongly influenced by German Expressionism and by the immigrant, and often Jewish, experience, the movement originated in Boston, Massachusetts, in the 1930s, continues in a third-wave form today, and flourished most markedly from the 1950s until the 1970s. (Full article...)
In literature, the epic was considered the highest form, for the reason expressed by Samuel Johnson in his Life of John Milton: "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions." Below that came lyric poetry, and comic poetry, with a similar ranking for drama. The novel took a long time to establish a firm place in the hierarchy, doing so only as belief in any systematic hierarchy of forms expired in the 19th century. (Full article...)
Image 25
The Peintres de la Réalité [pɛ͂tʀ də la ʀealite] (French for "Painters of Reality") were founded after the Second World War by Henri Cadiou to connect artists who were specialized on still life and genre motifs. It later evolved to the Mouvement trompe l'oeil / Réalité. The painting of the group is no reappearance of antiquity or of the 17th century, but the logical consequence of the place in the 20th century development of a realism that has taken over the sequence of surrealism to the modern trompe-l'œil to lead.
1973, the group exhibited at the Cultural Center of New York and the Corcoran Gallery in Washington. In 1989, after the death of Henri Cadiou, Pierre Gilou continued his father's work within the group. In 1993, the group had a sensational success as part of the Grand Palais in Paris, the exhibition "le triomphe du trompe-l'oeil" had more than 65,000 visitors in two weeks. (Full article...)
Selected painting techniques
Image 1
Rose painting with floral paintings in a traditional design Rose-painting, rosemaling, rosemåling or rosmålning is a Scandinavian decorative folk painting that flourished from the 1700s to the mid-1800s, particularly in Norway. In Sweden, rose-painting began to be called dalmålning, c. 1901, for the region Dalecarlia where it had been most popular, and kurbits, in the 1920s, for a characteristic trait, but in Norway the old name still predominates beside terms for local variants. Rose-painting was used to decorate church walls and ceilings. It then spread to wooden items commonly used in daily life, such as ale bowls, stools, chairs, cupboards, boxes, and trunks. Using stylized ornamentation made up of fantasy flowers, scrollwork, fine line work, flowing patterns and sometimes geometric elements give rose-painting its unique feel. Some paintings may include landscapes and architectural elements. Rose-painting also utilizes other decorative painting techniques such as glazing, spattering, marbleizing, manipulating the paint with the fingers or other objects. Regional styles of rose-painting developed, and some varied only slightly from others, while others may be noticeably distinct. (Full article...)
The name "stereochromy" was first used in about 1825 by Johann Nepomuk von Fuchs and Schlotthaurer. In the original technique, pigments were applied to plaster or stone and sealed with water glass to preserve and enhance the colors. The method was then improved in the 1880s by Adolf Wilhelm Keim and renamed mineral painting or Keim's process. (Full article...)
In May 1997, Molly Klein translated the original Italian-language version into English: (Full article...)
Image 4
Newly Risen Moon over a Brushwood Gate. Fujita Museum of Art, Osak. Shigajiku (Japanese: 詩画軸, "poem-and-painting scrolls"), are a form of Japanese ink wash painting. These hanging scrolls depict poetic inscriptions at the top of the scroll and a painted image, usually a landscape scene, below. Buddhist monks of the gozan 五山 or Five Mountain monasteries of the early Muromachi Period (1336-1573) first introduced the poem-and-painting scrolls.
Shigajiku is a modern category given to the visual and literary culture of the Muromachi Period rooted in the Zen tradition. The most common visual aesthetic for shigajiku is a monochrome water and ink style of painting, suibokuga 水墨画, with only occasional traces of color throughout the scroll. (Full article...)
Image 5
Shaped canvases are paintings that depart from the normal flat, rectangular configuration. Canvases may be shaped by altering their outline, while retaining their flatness. An ancient, traditional example is the tondo, a painting on a round panel or canvas: Raphael, as well as some other Renaissance painters, sometimes chose this format for madonna paintings. Alternatively, canvases may be altered by losing their flatness and assuming a three-dimensional surface. Or they can do both. That is, they can assume shapes other than rectangles, and also have surface features that are three-dimensional. Arguably, changing the surface configuration of the painting transforms it into a sculpture. But shaped canvases are generally considered paintings.
Apart from any aesthetic considerations, there are technical matters, having to do with the very nature of canvas as a material, that tend to support the flat rectangle as the norm for paintings on canvas. (Full article...)
Image 6
A rotary atomizer is an automatic electrostatic paint applicator used in high volume, automatic production painting environments. Also called a 'paint bell', "rotary bell atomizer" or 'bell applicator', it is preferred for high volume paint application for its superior transfer efficiency, spray pattern consistency, and low compressed air consumption, when compared to a paint spray gun. It can be mounted in a fixed position, reciprocating arm, or an industrial robot. (Full article...)
Image 7
A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is not present at the filming location. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage (compositing). At its best, depending on the skill levels of the artists and technicians, the effect is seamless and creates environments that would otherwise be impossible or expensive to film. In the scenes, the painting part is static while movements are integrated on it. (Full article...)
Image 8
The Loves of the Gods, in the Palazzo Farnese, by Annibale Carracci, a renowned example of quadro riportati Quadro riportato (plural quadri riportati) is the Italian phrase for "carried picture" or "transported paintings". It is used in art to describe gold-framed easel paintings or framed paintings that are seen in a normal perspective and painted into a fresco. The final effect is similar to illusionism, but the latter encompasses painted statues, reliefs and tapestries.
The ceiling is intended to look as if a framed painting has been placed overhead; there is no illusionistic foreshortening, figures appearing as if they were to be viewed at normal eye level. Mengs' Parnassus (1761) in the Villa Albani (now Villa Albani-Torlonia) is a famous example — a Neoclassical criticism against Baroque illusionism. Often, however, quadri riportati were combined with illusionistic elements, as in Annibale Carracci's Farnese Ceiling (1597–1600) in Rome. (Full article...)
Typically the body is first fired in a kiln to convert it into a hard porous biscuit or bisque. Underglaze decoration may then be applied, followed by glaze, which is fired so it bonds to the body. The glazed porcelain may then be painted with overglaze decoration and fired again to bond the paint with the glaze. Most pieces use only one of underglaze or overglaze painting, the latter often being referred to as "enamelled". Decorations may be applied by brush or by stenciling, transfer printing and screen printing. (Full article...)
Image 11
Jerusalem Delivered, a Heroic Poem, translated from the Italian of Torquato Tasso, by John Hoole. London 1797; with fore-edge painting: Trajan's Arch, (Ancona), Tasso in Prison, and the Bridge of Sighs A fore-edge painting is a scene painted on the edges of book pages. There are two basic forms, including paintings on fanned edges and closed edges. For the first type, the book's leaves must be fanned, exposing the pages' edges for the picture to become visible. For the second, closed type, the image is visible only while the book is closed.
The fundamental difference between the two fore-edge styles is that a painting on the closed edge is painted directly on the book's surface (the fore-edge being the opposite of the spine side). In contrast, the fanned fore-edge style has watercolor applied to the top or bottom margin (recto or verso) of the page/leaf and not to the actual "fore"-edge itself. (Full article...)
Image 12
A Girl Defending Herself Against Eros, by William-Adolphe Bouguereau, reflects the licked finish style; the brushstrokes are as invisible as possible, so as to make the painting appear more lifelike and minimize emphasis on the work's origin of painting and brushwork. A licked finish is a hallmark of French academic art. It refers to the process of smoothing the surface quality of a painting so that the presence of the artist's hand is no longer visible. It was codified by the French Academy in the eighteenth century in order to distinguish 'professional' art from that produced by amateurs.
Jean Auguste Dominique Ingres summed up the academic technique: "The brushstroke, as accomplished as it may be, should not be visible: otherwise, it prevents the illusion, immobilizes everything. Instead of the object represented, it calls attention to the process: instead of the thought, it betrays the hand." (Full article...)
Image 13
Kangaroo totemic ancestor - Bark painting, Arnhem Land, c. 1915Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. While examples of painted bark shelters were found in the south-eastern states (then colonies) of Tasmania, Victoria, and New South Wales in the 19th century, as well as later on bark shelters in northern Australia, it is now typically only found as a continuing form of artistic expression in Arnhem Land and other regions in the Top End of Australia, including parts of the Kimberley region of Western Australia.
Bark paintings were traditionally produced (especially among the Yolngu peoples) for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions. (Full article...)
Image 14
Nōtan (濃淡) is a design aesthetic referring to the use of light and shade while also implying a balance or harmony in their respective contrast. Its origins are said to lie in Asian art, best represented by the Taoist symbol of the yin and yang, although the concept itself is unique to art education in the United States and is generally described as an American idea. Nōtan, as it is used this way, refers to the relationship between positive and negative space, and in composition, the connection between shape and background. This use of dark and light translates shape and form into flat shapes on a two-dimensional surface. Art historian Ernest Fenollosa (1853–1908) is credited with introducing nōtan to the United States in the waning years of the fin de siècle. It was subsequently popularized by Arthur Wesley Dow in his book Composition (1899). (Full article...)
Image 15
Detail of the face of Mona Lisa showing the use of sfumato, particularly in the shading around the eyes. Sfumato (English: /sfuːˈmɑːtoʊ/sfoo-MAH-toh, Italian:[sfuˈmaːto]; lit.'smoked off', i.e. 'blurred') is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane. It is one of the canonical painting modes of the Renaissance. Leonardo da Vinci was the most prominent practitioner of sfumato, based on his research in optics and human vision, and his experimentation with the camera obscura. He introduced it and implemented it in many of his works, including the Virgin of the Rocks and in his famous painting of the Mona Lisa. He described sfumato as "without lines or borders, in the manner of smoke".
In art, prestezza is a painting technique that utilizes rapid brushstrokes to make impressions of faces and objects as opposed to painting them out in detail. The technique allows for faster painting and makes the undercoat an integral part of the painting itself. (Full article...)
Image 17
A paint-by-number kit Paint by number or painting by numbers kits are self-contained painting sets, designed to facilitate painting a pre-designed image. They generally include brushes, tubs of paint with numbered labels, and a canvas printed with borders and numbers. The user selects the color corresponding to one of the numbers then uses it to fill in a delineated section of the canvas, in a manner similar to a coloring book.
The kits were invented, developed and marketed in 1950 by Max S. Klein, an engineer and owner of the Palmer Paint Company in Detroit, Michigan, United States, and Dan Robbins, a commercial artist. When Palmer Paint introduced crayons to consumers, they also posted images online for a "Crayon by Number" version. (Full article...)
Image 18
Wall painted with Al-Qatt Al-Asiri Al-Qatt Al-Asiri (also called nagash painting or majlis painting), is a style of South Arabian art, typically painted by women in the entrance to a home. It originated in the 'Asir Region of Saudi Arabia where the front parlour of traditional Arab homes typically contained wall paintings in the form of a mural or fresco with geometric designs in bright colors. Called nagash in Arabic, the wall paintings are often considered a mark of pride. In 2017 Al-Qatt Al-Asiri was inscribed on UNESCO's list of Intangible Cultural Heritage of Humanity. (Full article...)
Image 19
Speed painting is an artistic technique where the artist has a limited time to finish the work. The time can vary, usually a duration is set from several minutes to a few hours. Unlike sketches, speed paintings may be considered "finished" after the time limit is up.
Speed painting is particularly common among digital media artists, because digital painting mediums allow for a work to circumvent drying times of traditional media. Digital media artists primarily use speed painting to practice working quickly and efficiently. Speed painting techniques are also frequently used in concept art, particularly in the early stages of a production when the polish of an individual image matters less than a clear basic presentation of many candidate concepts for consideration. (Full article...)
Image 20
Example of spray fireproofing, using a gypsum based plaster in a low-rise industrial building in Vancouver, British Columbia. Intonaco is an Italian term for the final, very thin layer of plaster on which a fresco is painted. The plaster is painted while still wet, in order to allow the pigment to penetrate into the intonaco itself. An earlier layer, called arriccio, is laid slightly coarsely to provide a key for the intonaco, and must be allowed to dry, usually for some days, before the final very thin layer is applied and painted on. In Italian the term intonaco is also used much more generally for normal plaster or mortar wall-coatings in buildings.
Intonaco is traditionally a mixture of sand (with granular dimensions less than two millimeters) and a binding substance. (Full article...)
Image 21
18"x34" powder painting by Jim Boles, homage to Wolf Kahn.
Powder painting, also called Frit painting, is the art of using ground glass in powdered form to create kilnformed glass art. The process differs from enameling in many respects. Firstly, the powder is actually ground glass typically from a single manufacturer who supplies an extensive color palette. Large jars can be purchased which are fairly inexpensive compared to enamels, making large scale paintings possible.
This technique is one variation of many ways to create images on glass using glass bits (frits), and in this case powder. (Full article...)
Image 22
Triumph of the Name of Jesus, by Giovanni Battista Gaulli, on the ceiling of the Church of the Gesu. The decorations of the vault over the nave date back to the 17th century. The fresco is the work of Giovanni Battista Gaulli, known as Baciccia. The stucco reliefs were executed by Ercole Antonio Raggi and Leonardo Reti, following the drawings of Baciccia who wanted to effect a real continuity between painting and sculpture.
Illusionism in art history means either the artistic tradition in which artists create a work of art that appears to share the physical space with the viewer or more broadly the attempt to represent physical appearances precisely – also called mimesis. The term realist may be used in this sense, but that also has rather different meanings in art, as it is also used to cover the choice of ordinary everyday subject-matter, and avoiding idealizing subjects. Illusionism encompasses a long history, from the deceptions of Zeuxis and Parrhasius to the works of muralistRichard Haas in the twentieth century, that includes trompe-l'œil, anamorphosis, optical art, abstract illusionism, and illusionistic ceiling painting techniques such as di sotto in sù and quadratura. Sculptural illusionism includes works, often painted, that appear real from a distance. Other forms, such as the illusionistic tradition in the theatre, and Samuel van Hoogstraten's "peepshow"-boxes from the seventeenth century, combine illusionistic techniques and media. (Full article...)
Image 23
Maki-eMaki-e (蒔絵, literally: sprinkled picture (or design)) is a Japanese lacquer decoration technique in which pictures, patterns, and letters are drawn with lacquer on the surface of lacquerware, and then metal powder such as gold or silver is sprinkled and fixed on the surface of the lacquerware. The origin of the term maki-e is a compound word of maki meaning "sprinkling" and e meaning "picture" or "design". The term can also be used to refer to lacquerware made with this decorative technique. The term maki-e first appeared in the Heian period.
This technique is the most used technique in Japanese lacquer decoration. The maki-e is often combined with other techniques such as raden (螺鈿) in which a nacreous layer of mollusk shell lining is embedded or pasted in lacquer, zōgan (象嵌) in which metal or ivory is embedded in lacquer, and chinkin (沈金) in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved. (Full article...)
Image 24
Brain painting is a non-invasive P300-based brain-computer interface (BCI) that allows painting without the use of muscular activity. The technology combines electroencephalography, signal processing algorithms and visual stimulation on a monitor to detect where the user focuses his attention, allowing him to voluntarily trigger commands to a painting software. The research project aims at assisting people afflicted with the Locked-in syndrome due to neurological or neuromuscular disease (e.g. amyotrophic lateral sclerosis ALS), who are severely restricted in communication with their environment, and therefore cut off from the possibility of creative expression. (Full article...)
Need help?
Do you have a question about Painting that you can't find the answer to?
For editor resources and to collaborate with other editors on improving Wikipedia's Painting-related articles, see WikiProject Painting.
General images
The following are images from various painting-related articles on Wikipedia.
Image 1Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650 (from History of painting)
Image 14Female painter sitting on a campstool and painting a statue of Dionysus or Priapus onto a panel which is held by a boy. Fresco from Pompeii, 1st century (from Painting)
Image 1519th Century Mysore Painting of Goddess Saraswathi (from Painting)
Image 28The depiction of a bull found in the Lubang Jeriji Saleh, Indonesia, in 2018, is the world’s oldest known figurative painting. The painting is estimated to have been created around 40,000 to 52,000 years ago, or even earlier. (from Painting)
Image 31The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte. (from History of painting)
Image 41In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world’s oldest known example of figurative or representational art. (from Painting)
Image 44In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world’s oldest known example of figurative or representational art. (from History of painting)
Image 60Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features. (from History of painting)
Image 61Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915 (from History of painting)
Image 66Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279). (from History of painting)
Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650 (from History of painting)
Wayang beber, 17th century (from History of painting)
Diego Rivera, Recreation of Man at the Crossroads (renamed Man, Controller of the Universe), originally created in 1934, Mexican muralism movement (from History of painting)
Rudolf Reschreiter, Blick von der Höllentalangerhütte zum Höllentalgletscher und den Riffelwandspitzen, Gouache (1921) (from Painting)
A Chinese painted jar from the Western Han Era (202 BCE – 9 CE) (from History of painting)
White Angel (fresco, c. 1235), Mileševa monastery, Serbia (from Painting)
19th Century Mysore Painting of Goddess Saraswathi (from Painting)
Khan Bahadur Khan with Men of his Clan, c. 1815, from the Fraser Album, Company Style (from Painting)
Spring Morning in the Han Palace, by Ming-era artist Qiu Ying (1494–1552 AD) (from History of painting)
Gwion Gwion rock paintings found in the north-west Kimberley region of Western Australia c. 15,000 BC (from History of painting)
The depiction of a bull found in the Lubang Jeriji Saleh, Indonesia, in 2018, is the world’s oldest known figurative painting. The painting is estimated to have been created around 40,000 to 52,000 years ago, or even earlier. (from Painting)
An Ethiopian illuminated Evangelist portrait of Mark the Evangelist, from the Ethiopian Garima Gospels, 6th century AD, Kingdom of Aksum (from History of painting)
The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte. (from History of painting)
Silk painting depicting a man riding a dragon, painting on silk, dated to 5th–3rd century BC, Warring States period, from Zidanku Tomb no. 1 in Changsha, Hunan Province (from History of painting)
Max Beckmann, The Night (Die Nacht), 1918–1919, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (from History of painting)
Jean Metzinger, La danse (Bacchante) (c. 1906), oil on canvas, 73 x 54 cm, Kröller-Müller Museum (from Painting)
Reza Abbasi, Two Lovers (1630) (from Painting)
In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world’s oldest known example of figurative or representational art. (from Painting)
The Sakyamuni Buddha, by Zhang Shengwen, 1173–1176 AD, Song dynasty period. (from History of painting)
Otto Marseus van Schrieck, A Forest Floor Still-Life (1666) (from Painting)
Maurice Quentin de La Tour, Portrait of Louis XV of France (1748), pastel (from Painting)
Spanish cave painting of Bulls (from History of painting)
Sesshū Tōyō, Landscapes of the Four Seasons (1486), ink and light color on paper (from Painting)
Muromachi period, Shingei (1431–1485), Viewing a Waterfall, Nezu Museum, Tokyo. (from History of painting)
Jean de Court (attributed), painted Limoges enamel dish in detail (mid-16th century), Waddesdon Bequest, British Museum (from Painting)
Book of Hours (from History of painting)
Lascaux, Horse (from History of painting)
Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features. (from History of painting)
Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915 (from History of painting)
Lascaux, Bulls and Horses (from History of painting)
Cueva de las Manos (Spanish for Cave of the Hands) in the Santa Cruz province in Argentina, c. 7300 BC (from History of painting)
Piet Mondrian, Composition en rouge, jaune, bleu et noir (1921), Gemeentemuseum Den Haag (from Painting)
Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279). (from History of painting)
Nino Pisano, Apelles or the Art of painting in detail (1334–1336); relief of the Giotto's Bell Tower in Florence, Italy
Francisco de Zurbarán, Still Life with Pottery Jars (Spanish: Bodegón de recipientes) (1636), oil on canvas, 46 x 84 cm, Museo del Prado, Madrid (from Painting)
A fresco showing Hades and Persephone riding in a chariot, from the tomb of Queen Eurydice I of Macedon at Vergina, Greece, 4th century BC (from History of painting)
Pictographs from the Great Gallery, Canyonlands National Park, Horseshoe Canyon, Utah, c. 1500 BCE (from History of painting)
Bharat Mata by Abanindranath Tagore (1871–1951), a nephew of the poet Rabindranath Tagore, and a pioneer of the movement (from History of painting)
Rembrandt van Rijn, The Jewish Bride, ca. 1665–1669 (from History of painting)
Young Mother Sewing, Mary Cassatt (from History of painting)
Honoré Daumier, The Painter (1808–1879), oil on panel with visible brushstrokes (from Painting)
Joan Miró, Horse, Pipe and Red Flower, 1920, abstract Surrealism, Philadelphia Museum of Art (from History of painting)
Krishna and Radha, might be the work of Nihâl Chand, master of Kishangarh school of Rajput Painting (from Painting)
Ray Burggraf, Jungle Arc (1998), acrylic paint on wood (from Painting)
A fresco from Cave 1 of Ajanta. (from History of painting)
Mona Lisa (1503–1517) by Leonardo da Vinci is one of the world's most recognizable paintings. (from Painting)
Hand stencils in the "Tree of Life" cave painting in Gua Tewet, Kalimantan, Indonesia (from History of painting)
Commons
Wikibooks
Wikidata
Wikinews
Wikiquote
Wikisource
Wikiversity
Wiktionary
