history of [[painting]] reaches back in time to artifacts from pre-historic humans, and spans all cultures, that represents a continuous, though disrupted, tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity, that continues into the 21st century.Art of the Western World: From Ancient Greece t"">.... Read More
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Information On History of painting
Image:Lascaux-aurochs.jpg (Bos primigenius primigenius, Lascaux France, prehistoric art ]
The history of [[painting]] reaches back in time to artifacts from pre-historic humans, and spans all cultures, that represents a continuous, though disrupted, tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity, that continues into the 21st century.Art of the Western World: From Ancient Greece to Post Modernism (Paperback)
by Bruce Cole, Simon and Shuster, 1981,http://www.simonsays.com/content/book.cfm?tab25&pid403665] accessed 27 October 2007 Until the early 20th century it relied primarily on Representational art Religious art and Classical antiquity motifs, after which time more purely Abstract art and Conceptual art approaches gained favor.
Developments in Eastern painting historically parallel those in Western painting in general, a few centuries earlier.The Meeting of Eastern and Western Art Revised and Expanded edition (Hardcover)by Michael Sullivan, African art Islamic art Indian art http://query.nytimes.com/gst/fullpage.html?res9C05EED91E3CF933A25754C0A962958260&sec&spon&pagewanted2] NY Times, Holland Cotter, accessed online 27 October 2007] Chinese art and Japanese art lt;ref>Japonisme: The Japanese Influence on Western Art Since 1858 (Paperback)
by Siegfried Wichmann# Publisher: Thames & Hudson; New Ed edition (19 November 1999), ISBN 0-500-28163-7, ISBN 978-0-500-28163-5 each had significant influence on Western art, and, eventually, vice-versa.The Meeting of Eastern and Western Art Revised and Expanded edition (Hardcover)by Michael Sullivan, Publisher: University of California Press; Rev Exp Su edition (1 June 1989), ISBN 0-520-05902-6, ISBN 978 0520059023
Recommended articles: [[20th century Western painting]], [[Western painting]], [[Painting]], [[Outline of painting history]]
Image:CavePainting1.jpg ]
Image:Bhimbetka.JPG|Rock Shelters of Bhimbetka rock painting Stone Age India
Image:lascaux2.jpg|Lascaux [[Horse]]
Image:San Painting, Ukalamba Drakensberge 1.JPG|[[Common Eland|Eland]] rock painting Drakensberg South Africa
Image:Lascaux painting.jpg|Lascaux Bulls and Horses
Image:Rock art bull.jpg|Spanish cave painting of [[Cattle|Bulls]]
Image:Haljesta.jpg|Petroglyphs from Sweden, Nordic Bronze Age (painted)
Image:GreatGalleryedit.jpg|Pictograph from the Great Gallery, Canyonlands National Park, Horseshoe Canyon (Utah) Utah c. 1500 BCE
File:SantaCruz-CuevaManos-P2210651b.jpg|Cueva de las Manos (Spanish for Cave of the Hands) in the Santa Cruz province in Argentina, c.550 BC
The oldest known paintings are at the Grotte Chauvet in France, claimed by some historians to be about 32,000 years old. They are engraved and painted using red ochre and black pigment and show horses, rhinoceros, lions, buffalo, mammoth or humans often hunting. There are examples of cave painting all over the world—in France, India, Spain, Portugal, China, Australia etc. Various conjectures have been made as to the meaning these paintings had to the people that made them. Prehistoric men may have painted animals to "catch" their soul or spirit in order to hunt them more easily or the paintings may represent an animistic vision and homage to surrounding nature or they may be the result of a basic need of expression that is innate to human beings, or they could have been for the transmission of practical information.
In Paleolithic times, the representation of humans in cave paintings was rare. Mostly, animals were painted, not only animals that were used as food but also animals that represented strength like the rhinoceros or large Felidae as in the Chauvet Cave Signs like dots were sometimes drawn. Rare human representations include handprints and half-human / animal figures. The Chauvet Cave in the Ardèche Departments of France contains the most important preserved cave paintings of the Paleolithic era, painted around 31,000 BC. The Altamira (cave) cave paintings in Spain were done 14,000 to 12,000 BC and show, among others, bison . The hall of bulls in Lascaux Dordogne France, is one of the best known cave paintings from about 15,000 to 10,000 BC.
If there is meaning to the paintings, it remains unknown. The caves were not in an inhabited area, so they may have been used for seasonal rituals. The animals are accompanied by signs which suggest a possible magic use. Arrow-like symbols in Lascaux are sometimes interpreted as calendar or almanac use. But the evidence remains inconclusive.M. Hoover, Art of the Paleolithic and Neolithic Eras]", from Art History Survey 1 San Antonio College (July 2001; accessed 11 June 2005). The most important work of the Mesolithic era were the marching warriors,a rock painting at Cingle de la Mola, Castellón (province) Spain dated to about 7,000 to 4,000 BC. The technique used was probably spitting or blowing the pigments onto the rock. The paintings are quite naturalistic, though stylized. The figures are not three-dimensional, even though they overlap
The earliest known Indian paintings (see section below) were the rock paintings of prehistory times, the petroglyph as found in places like the Rock Shelters of Bhimbetka (see above) and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ajanta Maharashtra States and territories of India present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals.
Image:Guardians of Day and Night, Han Dynasty.jpg|Paintings on tile of guardian spirits donned in Han Chinese clothing from the Han Dynasty (202 BC – 220 AD)
Image:Luoshenfu Gu Kai Zhi.jpg|Luoshenfu by Gu Kaizhi (344-406 AD), Chinese
Image:Sun Quan Tang.jpg|Emperor Sun Quan in the Thirteen Emperors Scroll and Northern Qi Scholars Collating Classic Texts by Yan Liben (c. 600-673 AD), Chinese
Image:EightySevenCelestials3.jpg|Eighty-Seven Celestials, by Wu Daozi (685-758), Chinese
Image:Hangan03.jpg|Portrait of Night-Shining White by Han Gan 8th century, Chinese
Image:Spring Outing of the Tang Court.jpg|Spring Outing of the Tang Court by Zhang Xuan 8th century, Chinese
Image:Anonymous-Describing_the_Doctrine_Under_a_Tree.jpg|Paradise of the Buddha [[Amitabha]] 8th century, Chinese
Image:Meister nach Chang Hsüan 001.jpg|Ladies making silk a remake of an 8th century original by Zhang Xuan by Emperor Huizong of Song early 12th century, Chinese
Image:E innga kyo.jpg|An illustrated sutra from the Nara period 8th century, Japanese
Image:Chou Fang 001.jpg|Ladies Playing Double Sixes by Zhou Fang (Tang Dynasty) (730-800 AD), Chinese
Image:Chou Wen-chü (Schule) 001.jpg|Yard concert 10th century, Chinese
Image:Xiao and Xiang rivers.jpg|The Xiao and Xiang Rivers by Dong Yuan (c. 934-962 AD), Chinese
File:Shenzong of Song.jpg|Court portrait of Emperor Shenzong of Song (r. 1067-1085), Chinese
Image:Songhuizong4.jpg|Golden Pheasant and Cotton Rose by Emperor Huizong of Song (r.1100-1126 AD), Chinese
Image:Songhuizong8.jpg|Listening to the Guqin by Emperor Huizong of Song (1100-1126 AD), Chinese
Image:Su Han Chen 001.jpg|Children Playing by Su Han Chen, c. 1150, Chinese
Image:Chinesischer Maler des 12. Jahrhunderts (II) 001.jpg|Chinese, anonymous artist of the 12th century Song Dynasty
Image:Chinesischer Maler von 1238 001.jpg|Portrait of the Zen Buddhist Wuzhun Shifan 1238 AD, Chinese
Image:Ma Lin 001.jpg|Ma Lin (painter) 1246 AD, Chinese
Image:Zhao Mengfu1.jpg|A Man and His Horse in the Wind by Zhao Mengfu (1254-1322 AD), Chinese
Image:SesshuToyo.jpg|Shukei-sansui (Autumn Landscape), Sesshu Toyo (1420-1506), Japanese
File:Zhou Maoshu Appreciating Lotuses.jpg|Kanō Masanobu 15th century founder of the Kanō school Zhou Maoshu Appreciating Lotuses,Japanese
Image:Kano White-robed Kannon, Bodhisattva of Compassion.jpg|A White-Robed Kannon, [[Bodhisattva]] of Compassion by Kanō Motonobu (1476-1559), Japanese
Image:Mogyeon.jpg|Mother Dog Yi Am (1499-?), Korean
Image:Tang Yin 003.jpg|Tang Yin A Fisher in Autumn (1523), Chinese
Image:Nanbansen2.jpg|Nanban ships arriving for trade in Japan 16th century, Japanese
Image:Kano_Eitoku_010.jpg|A screen painting depicting people playing Go (board game) by Kanō Eitoku (1543-1590), Japanese
Image:Pine Trees.jpg|Pine Trees,six sided screen, by Hasegawa Tohaku (1539-1610), Japanese
Image:Gu Hongzhongs Night Revels, Detail 1.jpg|Night Revels a Song Dynasty remake of a 10th century original by Gu Hongzhong
Image:Bodhidarma.jpg|Scroll calligraphy of Bodhidharma “Zen points directly to the human heart, see into your nature and become Buddha”, Hakuin Ekaku (1686 to 1769), Japanese
Image:Shunkeizu.jpg|Hanging scroll 1672, Kanō Tanyū (1602-1674), Japanese
Image:Peonies by Yun Shouping.jpg|Peonies by Yun Shouping (1633-1690), Chinese
Image:Ch20_asago.jpg|Genji Monogatari by Tosa Mitsuoki (1617–1691), Japanese
Image:Geumgangjeon.jpg|View of Geumgang Jeong Seon (1676–1759), 1734, Korean
Image:Ikeno Taiga 001.jpg|Ike no Taiga (1723-1776), Fish in Spring Japanese
Image:Okyo Pine, Bamboo, Plum.jpg|Maruyama school Pine, Bamboo, Plum,six-fold screen, Maruyama Ōkyo (1733–1795), Japanese
Image:Hwangmyo.jpg|A Cat and a Butterly Kim Hong-do (1745-?), 18th century, Korean
Image:Joyucheong.jpg|A Boat Ride Shin Yun-bok (1758-?), 1805, Korean
Image:SakaiHoitsuAutumnFlowersandMoon.JPG|Rimpa school "Autumn Flowers and Moon," Sakai Hoitsu (1761-1828), Japanese
Image:Hokusai tanuki tea kettle.jpg|A tanuki (raccoon dog) as a tea kettle, by Katsushika Hokusai (1760—1849), Japanese
Image:Maehwaseo.jpg|A House amongst Apricot Trees Jo Hee-ryong (1797-1859), Korean
Image:hokusai-fuji-koryuu.png|Katsushika Hokusai The Dragon of Smoke Escaping from Mt Fuji,Japanese
Image:MiyagawaIsshoScene.jpg|Miyagawa Isshō untitled Ukiyo-e painting, Japanese
image:Tomioka Tessai Two Divinities Dancing.jpg|Tomioka Tessai (1837-1924), Nihonga style, Two Divinities Dancing,1924, Japanese
Image:Bathing Women.jpg (1895-2000), Bathing Women Nihonga style, 1938, Japanese]]
File:China qing blue.JPG (202 BCE – 9 CE)]]
China, Japan and Korea have a strong tradition in painting which is also highly attached to the art of calligraphy and printmaking (so much that it is commonly seen as painting). Far east traditional painting is characterized by water based techniques, less realism, "elegant" and stylized subjects, graphical approach to depiction, the importance of white space (visual arts) (or negative space and a preference for landscape (instead of human figure) as a subject. Beyond ink and color on silk or paper scrolls, gold on lacquer was also a common medium in painted East Asian artwork. Although silk was a somewhat expensive medium to paint upon in the past, the invention of paper during the 1st century AD by the Han court eunuch Cai Lun provided not only a cheap and widespread medium for writing, but also a cheap and widespread medium for painting (making it more accessible to the public).
The ideologies of Confucianism Daoism and Buddhism played important roles in East Asian art. Medieval Song Dynasty painters such as Lin Tinggui and his Luohan Launderinghttp://www.asia.si.edu/collections/singleObject.cfm?ObjectId1691] (housed in the Smithsonian Freer Gallery of Art of the 12th century are excellent examples of Buddhist ideas fused into classical Chinese artwork. In the latter painting on silk (image and description provided in the link), bald-headed Buddhist Arhat are depicted in a practical setting of washing clothes by a river. However, the painting itself is visually stunning, with the Luohan portrayed in rich detail and bright, opaque colors in contrast to a hazy, brown, and bland wooded environment. Also, the tree tops are shrouded in swirling fog, providing the common "negative space" mentioned above in East Asian Art.
In Japonisme late 19th century artists like the Impressionists Vincent van Gogh Henri de Toulouse-Lautrec and James Abbott McNeill Whistler admired traditional Japanese Ukiyo-e artists like Hokusai and Hiroshige and their work was influenced by it.
Image:Südindischer Meister um 1540 001.jpg|A group of women from South India, Hindupur, c. 1540.
Image:Meister des Gîtâ-Govinda-Manuskripts 001.jpg|[[Krsna|Krishna]] embraces Gopîs Gîtâ-Govinda-manuscript, 1760-1765.
Image:Indischer Maler um 850 001.jpg|Floating Figures Dancing a mural of c. 850.
Image:Südindischer Meister um 1540 002.jpg|Wild Pig Hunt c. 1540.
Image:ChandBibiHawking.png|Chand Bibi Hawking Deccan style, 18th century
Image:Indischer Maler um 1750 (III) 001.jpg|A Lady Listening to Music, c. 1750.
Image:Indischer Maler von 1720 001.jpg|Rasamañjarî manuscript of the Bhânudatta (erotic treatise), 1720.
Image:Indischer Maler um 700 001.jpg|Mural fragment of a lady with a parasol, c. 700.
Image:Radha and Krishna in Discussion.jpg|Bahsoli painting of Radha and Krishna in Discussion, c. 1730.
Image:Maharaja Sital Dev of Mankot in Devotion.jpg|Bahsoli painting of Maharaja Sital Dev of Mankot in Devotion, c. 1690.
Image:Indischer Maler um 1615 (I) 001.jpg|Portrait of Ibrahim Adil Shah II (1580-1626) of Bijapur Sultanate 1615.
Image:Meister des Nujûm-al-Ulûm-Manuskripts 001.jpg|The Throne of the Wealth Nujûm-al- Ulûm-manuscript, 1570.
Image:Elefant und Jungtier aus dem Stall der Moghulkaiser.jpg|Elephant and cub out of the stable of the Moghul ruler, 17th century.
Image:Meister der Hamza-Nâma-Handschrift 001.jpg|Mihrdukht Shoots an Arrow Through a Ring 1564-1579.
Image:Meister des Porträts des Govardhân Chand 001.jpg|Portrait of the Govardhân Chand, Punjab region style, c. 1750.
Image:Ravi Varma-Ravana Sita Jathayu.jpg|Ravana kills Jathayu; the captive Sita despairs.
Image:Akbar and Tansen visit Haridas.jpg|Akbar and Tansen Visit Haridas in Vrindavan Rajasthan style, c. 1750.
Image:Indischer Maler um 1760 001.jpg|A man with children, Punjab region style, 1760.
Image:Indischer Maler um 1770 001.jpg|Râdhâ arrests Krishna Punjab region style, 1770.
Image:Indischer Maler von 1780 001.jpg|Rama and Sita in the Forest Punjab region style, 1780.
Image:Three Girls, by Amrita Sher-Gil, 1935.jpg|Amrita Sher-Gil Three Girls 1935, National Gallery of Modern Art in New Delhi
File:Sneha_-_village_belle.jpg|John Wilkins (Indian artist) Sneha-village belle,c.1970s
Image:Settingnotes.JPG |Devajyoti Ray Setting Notes 2007, Pseudorealism
Amrita Sher-Gil was an India Painting sometimes known as Indias Frida Kahlo lt;ref nameAmritaMaps>http://www.mapsofindia.com/who-is-who/art-culture/amrita-sher-gill.html Amrita Sher-Gill at mapsofindia.com], and today considered an important women painter of 20th century India, whose legacy stands at par with that of the Masters of Bengal Renaissance http://www.indianexpress.com/res/web/pIe/ie/daily/19991017/iex17018.html First Lady of the Modern Canvas] Indian Express October 17, 1999.http://www.21stcenturyindianart.com/women.htm Women painters at 21stcenturyindianart.com]; she is also the most expensive woman painter of India http://us.rediff.com/money/2007/dec/29art.htm Most expensive Indian artists].
Today, she is amongst Nine Masters whose work was declared as art treasuresby The Archaeological Survey of India in 1976 and 1979 http://chdmuseum.nic.in/art_gallery/nine_masters.html Nine Masters] Government Museum and Art Gallery, Chandigarh Official website., and over 100 of her paintings are now displayed at National Gallery of Modern Art New Delhi http://ngmaindia.gov.in/sh-amrita.asp Showcase:Amrita Sher-Gil] National Gallery of Modern Art .
During the colonial era, Western influences started to make an impact on Indian art. Some artists developed a style that used Western ideas of composition, perspective and realism to illustrate Indian themes. Others, like Jamini Roy consciously drew inspiration from folk art.
By the time of Independence in 1947, several schools of art in India provided access to modern techniques and ideas. Galleries were established to showcase these artists. Modern Indian art typically shows the influence of Western styles, but is often inspired by Indian themes and images. Major artists are beginning to gain international recognition, initially among the Indian diaspora, but also among non-Indian audiences.
The Progressive Artists' Group established shortly after India became independent in 1947, was intended to establish new ways of expressing India in the post-colonial era. The founders were six eminent artists - K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain S.H. Raza and Francis Newton Souza though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all Indias major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Vasudeo S. Gaitonde Ram Kumar Tyeb Mehta and Akbar Padamsee Other famous painters like Jahar Dasgupta Prokash Karmakar, John Wilkins (Indian artist) Narayanan Ramachandran, and Bijon Choudhuri enriched the art culture of India. They have become the icons of modern Indian art. Art historians like Prof. Rai Anand Krishna have also referred to those works of modern artistes that reflect Indian ethos. Geeta Vadhera has had acclaim in translating complex, Indian spiritual themes onto canvas like Sufi thought, the Upanishads and the Bhagwad Geeta.
Indian Art got a boost with the economic liberalization of the country since early 1990s. Artists from various fields now started bringing in varied styles of work. Post liberalization Indian art works not only within the confines of academic traditions but also outside it. Artists have introduced new concepts which have hitherto not been seen in Indian art. Devajyoti Ray has introduced a the new genre of art called Pseudorealism Pseudorealist Art is an original art style that has been developed entirely on the Indian soil. Pseudorealism takes into account the Indian concept of abstraction and uses it to transform regular scenes of Indian life into a fantastic images.
In post-liberalization India, many artists have established themselves in the international art market like the abstract painter Natvar Bhavsar and sculptor Anish Kapoor whose mammoth postminimalist artworks have acquired attention for their sheer size. Many art houses and galleries have also opened in USA and Europe to showcase Indian artworks.
Image:egypt paint.jpg|Ancient Egypt
Image:Ägyptischer Maler um 1360 v. Chr. 001.jpg|Ancient Egypt The Goddess [[Isis]],wall painting, ca.1360 BC
Image:Maler der Grabkammer der Nefertari 004.jpg|Ancient Egypt Queen [[Nefertari]]
Image:egyptian papyrus.jpg|Ancient Egypt papyrus
Image:Ägyptischer Maler um 1355 v. Chr. 001.jpg|Ancient Egypt
Image:Egypt.Ra-Apep.01.jpg|Ancient Egypt
Image:NAMA Sacrifice aux Charites.jpg|Pitsa panels one of the few surviving panel paintings from Archaic Greece ca. 540-530 BC
Image:Symposiumnorthwall.jpg|[[Symposium]] scene in the [[Tomb of the Diver]]at Paestum circa 480 BC Greek art
Image:KnossosFrescoRepro06827.jpg|Knossos
Image:Pompejanischer Maler um 80 v. Chr. 001.jpg|Roman art Pompeii
File:Hercules-and-telephus.jpg|Roman art
File:Boscoreale1.jpg|Roman art
Image:Pompeii Painter.jpg|Roman art
Image:Pompejanischer Maler um 10 20 001.jpg|Roman art
Image:Portrait du Fayoum 02.JPG|Roman art
Image:Fayum02.jpg|Roman art
To the north of Egypt was the Minoan civilization on the island of Crete The wall paintings found in the palace of Knossos are similar to that of the Egyptians but much more free in style. Around 1100 B.C., tribes from the north of Greece conquered Greece and the Greek art took a new direction.
Ancient Greece had great painters, great sculptors (though both endeavours were regarded as mere manual labour at the time), and great architects. The Parthenon is an example of their architecture that has lasted to modern days. Greek marble sculpture is often described as the highest form of classicism art. Painting on pottery of Ancient Greece and Ceramics (art) gives a particularly informative glimpse into the way society in Ancient Greece functioned. Black-figure vase painting and Red-figure vase painting gives many surviving examples of what Greek painting was. Some famous Greek painters on wooden panels who are mentioned in texts are Apelles Zeuxis and Parrhasius however no examples of Ancient Greek panel painting survive, only written descriptions by their contemporaries or later Romans. Zeuxis lived in 5-6 BC and was said to be the first to use sfumato According to Pliny the Elder the realism of his paintings was such that birds tried to eat the painted grapes. Apelles is described as the greatest painter of classical antiquity for perfect technique in drawing, brilliant color and modeling.
Roman art was influenced by Greece and can in part be taken as a descendant of ancient Greek painting. However, Roman painting does have important unique characteristics. The only surviving Roman paintings are wall paintings, many from villas in Campania in Southern Italy. Such painting can be grouped into 4 main "styles" or periodshttp://www.art-and-archaeology.com/roman/painting.html Roman Painting] and may contain the first examples of trompe-l'œil pseudo-perspective, and pure landscape.http://www.accd.edu/sac/vat/arthistory/arts1303/Rome4.htm Roman Wall Painting] Almost the only painted portraits surviving from the Ancient world are a large number of Fayum mummy portraits of bust form found in the Late Antique cemetery of Al-Fayum Although these were neither of the best period nor the highest quality, they are impressive in themselves, and give an idea of the quality that the finest ancient work must have had. A very small number of Miniature (illuminated manuscript) from Late Antique illustrated books also survive, and a rather larger number of copies of them from the Early Medieval period.
Image:CottonGenesisFragment26vAbrahamAndAngels.JPG|Cotton Genesis A miniature of [[Abraham]] Meeting [[Angel]]s
Image:Spas_vsederzhitel_sinay.jpg|Byzantine icon 6th century
Image:Meister_von_San_Vitale_in_Ravenna_003.jpg|Byzantine art mosaics in Ravenna
Image:RabulaGospelsFol13vAscension.jpg|Byzantine, 6th-century
Image:Les Très Riches Heures du duc de Berry Janvier.jpg|Limbourg Brothers
Image:Les_Très_Riches_Heures_du_duc_de_Berry_juin.jpg|Limbourg Brothers
Image:KellsFol292rIncipJohn.jpg|Book of Kells
Image:KellsFol032vChristEnthroned.jpg|Book of Kells
Image:RossanoGospelsFolio121rStMark.jpg|Evangelist portrait
Image:Codexaureus 25.jpg|Carolingian
Image:Ebbo Gospels St Mark.jpg|Carolingian [[Saint Mark]]
Image:Yaroslavl gospel.jpg|Yaroslavl Gospels c. 1220s
Image:Giottino pieta.jpg|Giottino
Image:Madonna dei denti.jpg|Vitale da Bologna
Image:Simone Martini 072.jpg|Simone Martini
Image:Cimabue 025.jpg|Cimabue
Image:Giotto Cruxifixion.jpg|Giotto di Bondone
File:Giotto - Scrovegni - -18- - Adoration of the Magi.jpg|Giotto di Bondone
Image:Andrej Rublëv 001.jpg|Andrei Rublev
Image:Rublev vosnesenie.jpg|Andrei Rublev Ascension (mystical) 1408
Image:Lorenzetti gov.jpg|Ambrogio Lorenzetti
Image:Lorenzetti Pietro Beata Umilta.jpg|Pietro Lorenzetti
Image:Duccio di Buoninsegna 036.jpg|Duccio di Buoninsegna
Image:Weyden Deposition.jpg (c.1435)]]
File:Bonaventura Berlinghieri Francesco.jpg|Bonaventura Berlinghieri St Francis of Assisi 1235
Image:Voronet last judgment.jpg ]
The rise of Christianity imparted a different spirit and aim to painting styles. Byzantine art once its style was established by the 6th century, placed great emphasis on retaining traditional iconography and style, and has changed relatively little through the thousand years of the Byzantine Empire and the continuing traditions of Greek and Russian Eastern Orthodoxy icon painting. Byzantine painting has a particularly hieratic feeling and icons were and still are seen as a reflection of the divine. There were also many wall-paintings in fresco but fewer of these have survived than Byzantine mosaics In general Byzantium art borders on abstraction in its flatness and highly stylised depictions of figures and landscape. However there are periods, especially in the so-called Macedonian art (Byzantine) of around the 10th century, when Byzantine art became more flexible in approach.
Image:Hastings book of the hours.jpg ]
In post-Antique Catholic Europe the first distinctive artistic style to emerge that included painting was the Insular art of the British Isles, where the only surviving examples (and quite likely the only medium in which painting was used) are miniatures in Illuminated manuscript such as the Book of Kells Putnam A.M., Geo. Haven. Books and Their Makers During The Middle Ages. Vol. 1. New York: Hillary House, 1962. Print. These are most famous for their abstract decoration, although figures, and sometimes scenes, were also depicted, especially in Evangelist portrait . Carolingian art and Ottonian art also survives mostly in manuscripts, although some wall-painting remain, and more are documented. The art of this period combines Insular and "barbarian" influences with a strong Byzantine influence and an aspiration to recover classical monumentality and poise.
Walls of Romanesque architecture and Gothic art churches were decorated with fresco s as well as sculpture and many of the few remaining murals have great intensity, and combine the decorative energy of Insular art with a new monumentality in the treatment of figures. Far more miniatures in Illuminated manuscript survive from the period, showing the same characteristics, which continue into the Gothic art
Panel painting becomes more common during the Romanesque art period, under the heavy influence of Byzantine icons. Towards the middle of the 13th century, Medieval art and Gothic painting became more realistic, with the beginnings of interest in the depiction of volume and perspective (graphical) in Italy with Cimabue and then his pupil Giotto From Giotto on, the treatment of composition by the best painters also became much more free and innovative. They are considered to be the two great medieval masters of painting in western culture. Cimabue, within the Byzantine tradition, used a more realistic and dramatic approach to his art. His pupil, Giotto, took these innovations to a higher level which in turn set the foundations for the western painting tradition. Both artists were pioneers in the move towards naturalism.
Churches were built with more and more windows and the use of colorful stained glass become a staple in decoration. One of the most famous examples of this is found in the cathedral of Notre Dame de Paris By the 14th century Western societies were both richer and more cultivated and painters found new patrons in the nobility and even the bourgeoisie Illuminated manuscripts took on a new character and slim, fashionably dressed court women were shown in their landscapes. This style soon became known as International style and tempera panel paintings and altarpieces gained importance.
Image:Fra Angelico 037.jpg|Fra Angelico
Image:Madonna and Child (Filippo Lippi).jpg|Filippo Lippi
Image:Andrea Mantegna 036.jpg|Andrea Mantegna
Image:Masaccio-TheExpulsionOfAdamAndEveFromEden-Restoration.jpg|Masaccio The Expulsion Of Adam and Eve from Eden,before and after restoration
File:Paolo Uccello 047b.jpg|Paolo Uccello
Image:Mona Lisa.jpeg|Leonardo da Vinci
File:Raphael - The small Cowper Madonna.jpg|Raphael
Image:michelangelo-creation.jpg|Michelangelo
File:Durer self portarit 28.jpg|Albrecht Dürer
Image:Bellini,_Giovanni_~_St_Francis_in_the_Desert,_c1480,_Tempera_and_oil_on_panel_Frick_Collection,_New_York.jpg|Giovanni Bellini
Image:Tizian 090.jpg|Titian
Image:Leonardo da Vinci 002.jpg|Leonardo da Vinci
Image:Resurrection.JPG|Piero della Francesca
Image:Giorgione_tempest.jpg|Giorgione
Image:Jacopo Tintoretto 001.jpg|Jacopo Tintoretto
Image:Birth of Venus.jpg|Sandro Botticelli
File:Robert Campin - L Annonciation - 1425.jpg|Robert Campin
Image:Weyden Ivo.jpg|Rogier van der Weyden
Image:Van Eyck - Arnolfini Portrait.jpg|Jan van Eyck
Image:Jan_van_Eyck_091.jpg|Jan van Eyck
File:The Garden of Earthly Delights by Bosch High Resolution.jpg|Hieronymous Bosch
Image:Pieter Bruegel the Elder- The Corn Harvest (August).JPG|Pieter Bruegel the Elder
Image:Hans Holbein d. J. 065.jpg|Hans Holbein the Younger
Image:El Greco View of Toledo.jpg|El Greco
The Renaissance is said by many to be the Golden Age (metaphor) of painting. Roughly spanning the 14th through the mid 17th century. In Italy artists like Paolo Uccello Fra Angelico Masaccio Piero della Francesca Andrea Mantegna Filippo Lippi Giorgione Tintoretto Sandro Botticelli Leonardo da Vinci Michelangelo Buonarroti Raphael Giovanni Bellini and Titian took painting to a higher level through the use of Perspective (graphical) the study of human anatomy and proportion, and through their development of an unprecedented refinement in drawing and painting techniques.
Flemish, Dutch and German painters of the Renaissance such as Hans Holbein the Younger Albrecht Dürer Lucas Cranach the Elder Matthias Grünewald Hieronymous Bosch and Pieter Brueghel the Elder represent a different approach from their Italian colleagues, one that is more realistic and less idealized. Genre works became a popular idiom amongst such Northern painters as Pieter Brueghel. A new verisimilitude in depicting reality became possible with the adoption of oil painting whose invention was traditionally, but erroneously, credited to Jan Van Eyck (an important transitional figure who bridges painting in the Middle Ages with painting of the early Renaissance . Unlike the Italians whose work drew heavily from the art of ancient Greece and Rome, the northerners retained a stylistic residue of the sculpture and illuminated manuscripts of the Middle Ages. These tendencies are also see in the artists of the Tudor court which was heavily influenced by Protestant refugees from the Low Countries
Renaissance painting reflects the revolution of ideas and science (astronomy geography that occur in this period, the Protestant Reformation and the invention of the printing press Dürer, considered one of the greatest of printmakers, states that painters are not mere artisan but Intellectual as well. With the development of easel painting in the Renaissance, painting gained independence from architecture. Following centuries dominated by religious imagery, secular subject matter slowly returned to Western painting. Artists included visions of the world around them, or the products of their own imaginations in their paintings. Those who could afford the expense could become patrons and commission portraits of themselves or their family.
In the fifteenth and sixteenth centuries, panel painting which could be hung on walls and moved around at will, became increasingly popular for both churches and private houses, rather than fresco wall-paintings or paintings incorporated into on permanent structures, such as altarpiece . The High Renaissance gave rise to a stylized art known as Mannerism In place of the balanced compositions and rational approach to perspective that characterized art at the dawn of the sixteenth century, the Mannerists sought instability, artifice, and doubt. The unperturbed faces and gestures of Piero della Francesca and the calm Virgins of Raphael are replaced by the troubled expressions of Pontormo and the emotional intensity of El Greco Some decades later Northern Mannerism dominated Netherlandish and German art until the arrival of the Baroque.
Image:Caravaggio bacchus.jpg|Caravaggio
Image:GENTILESCHI Judith.jpg|Artemesia Gentileschi
Image:Frans Hals 008.jpg|Frans Hals
Image:Rubens_-_Judgement_of_Paris.jpg|Peter Paul Rubens
File:JohannesVermeer-TheAstronomer(1668).jpg|Jan Vermeer
Image:The_Nightwatch_by_Rembrandt.jpg|Rembrandt van Rijn
Image:Velazquez-Meninas.jpg|Diego Velazquez
Image:Poussin RapeSabineLouvre.jpg|Nicolas Poussin
Image:José de Ribera 054.jpg|José de Ribera
Image:SPSalvatorRosa.jpg|Salvatore Rosa
Image:Claude Lorrain 008.jpg|Claude Lorrain
File:Charles I of England.jpg|Antony Van Dyck
Image:The_Death_of_Hyacinth.jpg|Giovanni Battista Tiepolo
Image:WatteauPierrot.jpg|Antoine Watteau
Image:Fragonard, The Swing.jpg|Jean-Honoré Fragonard [[The Swing (painting)|The Swing]] ca. 1767
Image:Marie-Louise OMurphy (1737-1818) painted by Francois Boucher (1703–1770).jpg|François Boucher
Image:Vigee-Lebrun1782.jpg|Élisabeth Vigée-Lebrun
Image:Pompadour6.jpg|Maurice Quentin de La Tour
Image:Thomas Gainsborough 008.jpg|Thomas Gainsborough
Image:Joshua Reynolds; Colonel Acland and Lord Sydney, The Archers, 1769.jpg|Joshua Reynolds
Image:Jean-Baptiste Siméon Chardin 029.jpg|Jean-Baptiste-Siméon Chardin
Image:William Hogarth by William Hogarth.jpg|William Hogarth
Image:Francis Hayman 001.jpg|Francis Hayman
Image:Sleepingnymph.jpg|Angelica Kauffman
Baroque painting is associated with the Baroque cultural movement a movement often identified with political absolutism and the Counter Reformation or Catholic Revival http://www.britannica.com/eb/article-9026564/Counter-Reformation Counter Reformation], from [[Encyclopædia Britannica Online]] latest edition, full-article.http://www.bartleby.com/65/co/CounterR.html Counter Reformation], from [[The Columbia Encyclopedia]] Sixth Edition. 2001-05.; the existence of important Baroque painting in non-absolutist and Protestant states also, however, underscores its popularity, as the style spread throughout Western Europe.Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, "Gardners Art Through the Ages" (Belmont, CA: Thomson/Wadsworth, 2005)
Baroque painting is characterized by great drama, rich, deep color, and intense light and dark shadows. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. During the period beginning around 1600 and continuing throughout the 17th century, painting is characterized as Baroque Among the greatest painters of the Baroque are Caravaggio Rembrandt Harmenszoon van Rijn Frans Hals Peter Paul Rubens Diego Velázquez Nicolas Poussin and Jan Vermeer Caravaggio is an heir of the Humanism painting of the High Renaissance His realism (visual arts) approach to the human figure, painted directly from life and dramatically spotlit against a dark background, shocked his contemporaries and opened a new chapter in the history of painting.
Baroque painting often dramatizes scenes using light effects; this can be seen in works by Rembrandt, Vermeer, Le Nain and Georges de La Tour
During the 18th century, Rococo followed as a lighter extension of Baroque, often frivolous and erotic. Rococo developed first in the decorative arts and interior design in France. Louis XV of France s succession brought a change in the court artists and general artistic fashion. The 1730s represented the height of Rococo development in France exemplified by the works of Antoine Watteau and François Boucher Rococo still maintained the Baroque taste for complex forms and intricate patterns, but by this point, it had begun to integrate a variety of diverse characteristics, including a taste for Oriental designs and asymmetric compositions.
The Rococo style spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany Bohemia and Austria where it was merged with the lively German Baroque traditions. German Rococo was applied with enthusiasm to churches and palaces, particularly in the south, while Frederician Rococo developed in the Kingdom of Prussia
The French masters Jean-Antoine Watteau François Boucher and Jean-Honoré Fragonard represent the style, as do Giovanni Battista Tiepolo and Jean-Baptiste-Siméon Chardin who was considered by some as the best French painter of the 18th century - the Anti-Rococo Portrait re was an important component of painting in all countries, but especially in England, where the leaders were William Hogarth in a blunt realist style, and Francis Hayman Angelica Kauffman (who was Swiss), Thomas Gainsborough and Joshua Reynolds in more flattering styles influenced by Antony Van Dyck While in France during the Rococo era Jean-Baptiste Greuze (the favorite painter of Denis Diderot ,Edmond de Goncourt and Jules de Goncourt French Eighteenth-Century Painters.Cornell Paperbacks, 1981, pp.222-225. ISBN 0-8014-9218-1 Maurice Quentin de La Tour and Élisabeth Vigée-Lebrun were highly accomplished Portrait painting and History painting
William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty(1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism . The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors http://digi.ub.uni-heidelberg.de/sammlung6/allg/buch.xml?docnameblondel1737].
By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassicism artists like Jacques Louis David
Image:David_-_The_Death_of_Socrates.jpg|Jacques-Louis David 1787
Image:Watsonandtheshark-original.jpg|John Singleton Copley 1778
Image:Antoine-Jean Gros - Bonaparte visitant les pestiférés de Jaffa.jpg|Antoine-Jean Gros 1804
Image:Ingres_Turkish_Bath.jpg|Jean Auguste Dominique Ingres 1862
Image:Constable DeadhamVale.jpg|John Constable 1802
Image:Francisco_de_Goya_y_Lucientes_-_Los_fusilamientos_del_tres_de_mayo_-_1814.jpg|Francisco de Goya 1814
Image:Jean Louis Théodore Géricault 002.jpg|Théodore Géricault 1819
Image:Mondaufgang-am-meer-1822.jpg|Caspar David Friedrich c.1822
Image:Eugène Delacroix - La liberté guidant le peuple.jpg|Eugène Delacroix 1830
Image:Turner,_J._M._W._-_The_Fighting_Téméraire_tugged_to_her_last_Berth_to_be_broken.jpg|J. M. W. Turner 1838
Image:Courbet Ornans.jpg|Gustave Courbet 1849-1850
image:corot.villedavray.750pix.jpg|Jean-Baptiste-Camille Corot c.1867
Image:Bierstadt-storm-in-the-rocky-mountains-1886.jpg|Albert Bierstadt 1886
Image:Claude Monet, Impression, soleil levant, 1872.jpg|Claude Monet 1872
Image:Pierre-Auguste Renoir, Le Moulin de la Galette.jpg|Pierre-Auguste Renoir 1876
Image:Edgar Germain Hilaire Degas 012.jpg|Edgar Degas 1876
Image:Edouard Manet 004.jpg|Édouard Manet 1882
Image:Vincent Willem van Gogh 128.jpg|Vincent van Gogh 1888
Image:VanGogh-starry night.jpg 1889]]
Image:Woher kommen wir Wer sind wir Wohin gehen wir.jpg|Paul Gauguin 1897-1898
Image:Georges_Seurat_-_Un_dimanche_après-midi_à_lÎle_de_la_Grande_Jatte.jpg|Georges Seurat 1884-1886
Image:Swimming hole.jpg|Thomas Eakins 1884-1885
Image:Albert Pinkham Ryder 003.jpg|Albert Pinkham Ryder 1890
Image:Winslow Homer 005.jpg|Winslow Homer 1899
Image:Paul Cézanne 047.jpg|Paul Cézanne 1906
After Rococo there arose in the late 18th century, in architecture and then in painting severe neo-classicism best represented by such artists as Jacques Louis David and his heir Jean Auguste Dominique Ingres Ingres work already contains much of the sensuality, but none of the spontaneity, that was to characterize Romanticism
This movement turned its attention toward landscape and nature as well as the human figure and the supremacy of natural order above mankinds will. There is a pantheism philosophy (see Baruch Spinoza and Georg Wilhelm Friedrich Hegel within this conception that opposes Age of Enlightenment ideals by seeing mankinds destiny in a more tragic or pessimistic light. The idea that human beings are not above the forces of Nature is in contradiction to Ancient Greek and Renaissance ideals where mankind was above all things and owned his fate. This thinking led romantic artists to depict the Sublimation (psychology) ruined churches, shipwrecks, massacres and madness.
By the mid-19th century painters became liberated from the demands of their patronage to only depict scenes from religion, mythology, portraiture or history. The idea "art for arts sake" began to find expression in the work of painters like Francisco de Goya, John Constable, and J.M.W. Turner. Romantic painters turned landscape painting into a major genre, considered until then as a minor genre or as a decorative background for figure compositions.
Some of the major painters of this period are Eugène Delacroix Théodore Géricault J. M. W. Turner Caspar David Friedrich and John Constable Francisco de Goya s late work demonstrates the Romantic interest in the irrational, while the work of Arnold Böcklin evokes mystery and the paintings of Aesthetic movement artist James McNeill Whistler evoke both sophistication and decadent movement In the United States the Romantic tradition of landscape painting was known as the Hudson River School http://findarticles.com/p/articles/mi_m0268/is_5_40/ai_82469521, Novack, Barbara American SublimeArtforum, 2002, retrieved October 30, 2008] exponents include Thomas Cole Frederic Edwin Church Albert Bierstadt Thomas Moran and John Frederick Kensett Luminism (American art style) was a movement in American landscape painting related to the Hudson River School
The leading Barbizon School painter Jean-Baptiste-Camille Corot painted in both a romantic and a Realism (visual arts) vein; his work prefigures Impressionism as does the paintings of Eugène Boudin who was one of the first French landscape painters to paint outdoors. Boudin was also an important influence on the young Claude Monet whom in 1857 he introduced to Plein air painting. A major force in the turn towards Realism (visual arts) at mid-century was Gustave Courbet In the latter third of the century Impressionists like Édouard Manet Claude Monet Pierre-Auguste Renoir Camille Pissarro Alfred Sisley Berthe Morisot Mary Cassatt and Edgar Degas worked in a more direct approach than had previously been exhibited publicly. They eschewed allegory and narrative in favor of individualized responses to the modern world, sometimes painted with little or no preparatory study, relying on deftness of drawing and a highly chromatic pallette. Manet, Degas, Renoir, Morisot, and Cassatt concentrated primarily on the human subject. Both Manet and Degas reinterpreted classical figurative canons within contemporary situations; in Manets case the re-imaginings met with hostile public reception. Renoir, Morisot, and Cassatt turned to domestic life for inspiration, with Renoir focusing on the female nude. Monet, Pissarro, and Sisley used the landscape as their primary motif, the transience of light and weather playing a major role in their work. While Sisley most closely adhered to the original principals of the Impressionist perception of the landscape, Monet sought challenges in increasingly chromatic and changeable conditions, culminating in his series of monumental works of Water Lilies painted in Giverny
Image:The Scream.jpg 1893, early example of Expressionism ]
Pissarro adopted some of the experiments of Post-Impressionism Slightly younger Post-Impressionists like Vincent van Gogh Paul Gauguin and Georges Seurat along with Paul Cézanne led art to the edge of modernism for Gauguin Impressionism gave way to a personal symbolism; Seurat transformed Impressionisms broken color into a scientific optical study, structured on frieze-like
compositions; Van Goghs turbulent method of paint application, coupled with a sonorous use of color, predicted Expressionism and Fauvism and Cézanne, desiring to unite classical composition with a revolutionary abstraction of natural forms, would come to be seen as a precursor of 20th century art.
The spell of Impressionism was felt throughout the world, including in the United States, where it became integral to the painting of American Impressionists such as Childe Hassam John Twachtman and Theodore Robinson It also exerted influence on painters who were not primarily Impressionistic in theory, like the portrait and landscape painter John Singer Sargent At the same time in America at the turn of the century there existed a native and nearly insular realism, as richly embodied in the figurative work of Thomas Eakins the Ashcan School and the landscapes and seascapes of Winslow Homer all of whose paintings were deeply invested in the solidity of natural forms. The visionary landscape, a motive largely dependent on the ambiguity of the nocturne, found its advocates in Albert Pinkham Ryder and Ralph Albert Blakelock
In the late 19th century there also were several, rather dissimilar, groups of Symbolism (arts) whose works resonated with younger artists of the 20th century, especially with the Fauvism and the Surrealism Among them were Gustave Moreau Odilon Redon Pierre Puvis de Chavannes Henri Fantin-Latour Arnold Böcklin Edvard Munch Félicien Rops and Jan Toorop and Gustave Klimt amongst others including the Russian Symbolism like Mikhail Vrubel
Symbolism (arts) mined mythology and dream imagery for a visual language of the soul, seeking evocative paintings that brought to mind a static world of silence. The symbols used in Symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, the Symbolist painters influenced the contemporary Art Nouveau movement and Les Nabis In their exploration of dreamlike subjects, symbolist painters are found across centuries and cultures, as they are still today; Bernard Delvaille has described René Magritte s surrealism as "Symbolism plus Sigmund Freud .Delvaille, Bernard, La poésie symboliste: anthologie introduction. ISBN 2-221-50161-6
Image:Matisse-Open-Window.jpg|Henri Matisse 1905, Fauvism
Image:Les Demoiselles dAvignon.jpg|Pablo Picasso 1907, early Cubism
File:Violin and Candlestick.jpg|Georges Braque 1910, Analytic Cubism
Image:Henri Rousseau 005.jpg|Henri Rousseau 1910 Primitivism Surrealism
The heritage of painters like Van Gogh Cézanne Gauguin and Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque André Derain Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism - (as seen in the gallery above). Henri Matisse s second version of [[The Dance (painting)|The Dance]]signifies a key point in his career and in the development of modern painting.Russell T. Clement. Four French Symbolists Greenwood Press, 1996. Page 114. It reflects Matisses incipient fascination with primitive art the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism Pablo Picasso made his first Cubism paintings based on Cézannes idea that all depiction of nature can be reduced to three solids: cube sphere and cone (geometry) With the painting Les Demoiselles d'Avignon 1907, (see gallery) Picasso dramatically 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 Cubist inventions. Analytic cubism (see gallery) was jointly developed by Pablo Picasso and Georges Braque exemplified by Violin and Candlestick, Paris,(seen above) from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism practised by Braque, Picasso, Fernand Léger Juan Gris Albert Gleizes Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.
Image:Matissedance.jpg 1909, late Fauvism ]
Image:De Chirico's Love Song.jpg 1914, pre-Surrealism ]
Les Fauves (French for The Wild Beasts were early 20th century painters, experimenting with freedom of expression through color. The name was given, humorously and not as a compliment, to the group by art critic Louis Vauxcelles Fauvism was a short-lived and loose grouping of early 20th century artists whose works emphasized painterly qualities, and the imaginative use of deep color over the representational values. Fauvists made the subject of the painting easy to read, exaggerated perspectives and an interesting prescient prediction of the Fauves was expressed in 1888 by Paul Gauguin to Paul Sérusier
"How do you see these trees? They are yellow. So, put in yellow; this shadow, rather blue, paint it with pure [[ultramarine]]; these red leaves? Put in [[vermilion]]."
The leaders of the movement were Henri Matisse and André Derain — friendly rivals of a sort, each with his own followers. Ultimately Matisse became the yangto Picasso s yinin the 20th century. Fauvist painters included Albert Marquet Charles Camoin Maurice de Vlaminck Raoul Dufy Othon Friesz the Dutch painter Kees van Dongen and Picassos partner in Cubism, Georges Braque amongst others.The "Wild Beasts" Fauvism and its Affinities,John Elderfield Museum of Modern Art 1976, ISBN 0-87070-638-1
Fauvism, as a movement, had no concrete theories, and was short lived, beginning in 1905 and ending in 1907, they only had three exhibitions. Matisse was seen as the leader of the movement, due to his seniority in age and prior self-establishment in the academic art world. His 1905 portrait of Mme. Matisse The Green Line,(above), caused a sensation in Paris when it was first exhibited. He said he wanted to create art to delight; art as a decoration was his purpose and it can be said that his use of bright colors tries to maintain serenity of composition. In 1906 at the suggestion of his dealer Ambroise Vollard André Derain went to London and produced a series of paintings like Charing Cross Bridge, London(above) in the Fauvism style, paraphrasing the famous series by the Impressionist painter Claude Monet Masters like Henri Matisse and Pierre Bonnard continued developing their narrative styles independent of any movement throughout the 20th century.
Image:Bonnard-the dining room in the country.jpg 1913, European Modernism ]
By 1907 Fauvism no longer was a shocking new movement, soon it was replaced by Cubism on
the critics radar screen as the latest new development in Contemporary Art of the time.
In 1907 Guillaume Apollinaire commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisses art is eminently reasonable."Picasso and Braque pioneering cubismWilliam Rubin, published by the Museum of Modern Art New York, copyright 1989, ISBN 0 87070-676-4 p.348.
Analytic cubism (see gallery) was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism practised by Braque, Picasso, Fernand Léger Juan Gris Albert Gleizes Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.
During the years between 1910 and the end of World War I and after the heyday of cubism several movements emerged in Paris. Giorgio De Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio . Through his brother he met Pierre Laprade a member of the jury at the Salon d’Automne, where he exhibited three of his dreamlike works: Enigma of the Oracle Enigma of an Afternoonand Self-Portrait During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, his work was noticed by Pablo Picasso and Guillaume Apollinaire and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism (see gallery)
Image:Chagall IandTheVillage.jpg|Marc Chagall 1911, Expressionism and Surrealism
Image:Deer_in_the_Woods_II.jpg|Franz Marc 1912, Der Blaue Reiter
Image:Delaunay ChampDeMars.jpg|Robert Delaunay 1911, Orphism (art)
Image:Leger railway crossing.jpg|Fernand Leger 1919, Synthetic Cubism Tubism
In the first two decades of the 20th century and after cubism several other important movements emerged; Futurism (art) (Giacomo Balla , Abstract art (Kandinsky , Der Blaue Reiter , Bauhaus (Kandinsky and (Paul Klee , Orphism (art) (Robert Delaunay and František Kupka , Synchromism (Morgan Russell , De Stijl (Piet Mondrian , Suprematism (Malevich , Constructivism (art) (Tatlin , Dadaism (Duchamp Picabia Jean Arp and Surrealism (Giorgio De Chirico André Breton Joan Miró René Magritte Salvador Dalí Max Ernst . Modern painting influenced all the visual arts, from Modernist architecture and design to avant-garde film, theatre and modern dance and became an experimental laboratory for the expression of visual experience, from photography and concrete poetry to advertising and fashion Van Goghs painting exerted great influence upon 20th century Expressionism as can be seen in the work of the Fauvism Die Brücke (a group led by German painter Ernst Kirchner , and the Expressionism of Edvard Munch Egon Schiele Marc Chagall Amedeo Modigliani Chaim Soutine and others..
Image:Amadeo Modigliani 036.jpg Portrait of [[Soutine]]1916, example of Expressionism ]
Image:Kandinsky WWI.jpg 1913, birth of Abstract Art ]
Wassily Kandinsky a Russian Painting printmaker and art theorist one of the most famous 20th-century artists is generally considered the first important painter of Modern Art abstract art. As an early modernist in search of new modes of visual expression, and spiritual expression, he theorized as did contemporary occultists and theosophists that pure visual abstraction had corollary vibrations with sound and music. They posited that pure abstraction could express pure spirituality. His earliest abstractions were generally titled as the example in the (above gallery) Composition VII making connection to the work of the composers of music. Kandinsky included many of his theories about abstract art in his book Concerning the Spiritual in Art.Robert Delaunay was a French artist who is associated with Orphism (art) (reminiscent of a link between pure abstraction and cubism). His later works were more abstract, reminiscent of Paul Klee His key contributions to abstract painting refer to his bold use of color, and a clear love of experimentation of both depth and tone. At the invitation of Wassily Kandinsky Delaunay and his wife the artist Sonia Delaunay joined The Blue Rider (Der Blaue Reiter , a Munich based group of abstract artists in 1911, and his art took a turn to the abstract.http://www.tate.org.uk/collections/glossary/definition.jsp?entryId86 Der Blaue Reiter, Tate Glossary] retrieved August 10, 2009 Other Major pioneers of early abstraction include Russian Painting Kasimir Malevich who after the Russian Revolution (1917) in 1917, and after pressure from the Stalinist regime in 1924 returned to painting imagery and Peasants and Workers in the field,and Swiss (people) Painting Paul Klee whose masterful color experiments made him an important pioneer of abstract painting at the Bauhaus Still other important pioneers of abstract painting include the Swedish artist Hilma af Klint Czechs painter, František Kupka as well as American artists Stanton MacDonald-Wright and Morgan Russell who, in 1912, founded Synchromism an art movement that closely resembles Orphism (art)
Image:Munch death of marat I 1907.jpg Death of Marat I(1907), an example of Expressionism ]
Image:Gustav Klimt 016.jpg Expressionism 1907–1908]]
[[Expressionism]]and [[Symbolism (arts)|Symbolism]]are broad rubrics that describes several important and related movements in 20th century painting that dominated much of the avant-garde art being made in Western, Eastern and Northern Europe. Expressionism was painted largely between World War I and World War II, mostly in France, Germany, Norway, Russia, Belgium, and Austria. Expressionist artists are related to both Surrealism and Symbolism and are each uniquely and somewhat eccentrically personal. Fauvism Die Brücke and Der Blaue Reiter are three of the best known groups of Expressionist and Symbolist painters. Artists as interesting and diverse as Marc Chagall whose painting [[I and the Village]],(above) tells an autobiographical story that examines the relationship between the artist and his origins, with a lexicon of artistic Symbolism (arts) Gustav Klimt Egon Schiele Edvard Munch Emil Nolde Chaim Soutine James Ensor Oskar Kokoschka Ernst Ludwig Kirchner Max Beckmann Franz Marc Käthe Schmidt Kollwitz Georges Rouault Amedeo Modigliani and some of the Americans abroad like Marsden Hartley and Stuart Davis (painter) were considered influential expressionist painters. Although Alberto Giacometti is primarily thought of as an intense Surrealist sculptor he made intense expressionist paintings as well.
File:Mondrian gray tree.jpg|Piet Mondrian 1912, early De Stijl
Image:Malevici06.jpg|Kasimir Malevich 1916, Suprematism
Image:Theo van Doesburg Composition VII (the three graces).jpg|Theo van Doesburg 1917, De Stijl Neo-Plasticism
Image:MacDonaldWright_AirplaneSynchYelOrng.jpg|Stanton MacDonald-Wright 1920, Synchromism
Image:Mondrian CompRYB.jpg 1937-1942, De Stijl ]
Piet Mondrian s art was also related to his spiritual and philosophical studies. In 1908 he became interested in the Theosophy movement launched by Helena Petrovna Blavatsky in the late 19th century. Blavatsky believed that it was possible to attain a knowledge of nature more profound than that provided by empirical means, and much of Mondrians work for the rest of his life was inspired by his search for that spiritual knowledge.
De Stijl also known as neoplasticism was a Dutch art stic movement founded in 1917. The term [[De Stijl]]is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.lt;/ref>lt;/ref>
De Stijlis also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg propagating the groups theories. Next to van Doesburg, the groups principal members were the painters Piet Mondrian Vilmos Huszàr and Bart van der Leck and the architects Gerrit Rietveld Robert van 't Hoff and J.J.P. Oud The artistic philosophy that formed a basis for the groups work is known as neoplasticism— the new plastic art (or Nieuwe Beeldingin Dutch).
Proponents of De Stijl sought to express a new utopia ideal of spiritual harmony and order. They advocated pure abstract art and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Indeed, according to the Tate Gallery s online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay Neo-Plasticism in Pictorial Art. He writes, "... this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour." The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line."http://www.tate.org.uk/collections/glossary/definition.jsp?entryId191] The Solomon R. Guggenheim Museum lt;/ref>
De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms (such as the "perfect straight line") in the neoplatonic philosophy of mathematician M.H.J. Schoenmaekers The works of De Stijl would influence the Bauhaus style and the International style (architecture) of architecture as well as clothing and interior design However, it did not follow the general guidelines of an "ism" (Cubism, Futurism, Surrealism), nor did it adhere to the principles of art schools like Bauhaus; it was a collective project, a joint enterprise.
Image:Pedestal Table in the Studio.jpg 1922, early Surrealism ]
Image:Duchamp LargeGlass.jpg|Marcel Duchamp 1915-23, Dada
Image:Picabia Machine Turn.jpg|Francis Picabia 1916, Dada
Image:Pedestal Table in the Studio.jpg|André Masson 1922, early Surrealism
Image:The Tilled Field.jpg 1923-1924, abstract Surrealism ]
Image:MenShallKnowNothingofThis.jpg 1923, early Surrealism
Image:Mama, Papa is Wounded!.jpg 1927, Surrealism
Image:MagrittePipe.jpg 1928-1929, Surrealism ]
File:Apparatus and hand.jpg|Salvador Dalí 1927, Surrealism (super-realism)
Marcel Duchamp came to international prominence in the wake of his notorious success at the New York City Armory Show in 1913, (soon after he denounced artmaking for chess . After Duchamps Nude Descending a Staircase became the international cause celebre at the 1913 Armory show in New York he created the [[The Bride Stripped Bare by Her Bachelors, Even]], [[Large Glass]](see above). The [[Large Glass]]pushed the art of painting to radical new limits being part painting, part collage, part construction. Duchamp became closely associated with the Dada movement that began in neutral Zürich, Switzerland during World War I and peaked from 1916 to 1920. The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design, and concentrated its anti war politic through a rejection of the prevailing standards in art through anti-art cultural works. Francis Picabia (see above), Man Ray Kurt Schwitters Tristan Tzara Hans Richter (artist) Jean Arp Sophie Taeuber-Arp along with Duchamp and many others are associated with the Dadaist movement. Duchamp and several Dadaists are also associated with Surrealism, the movement that dominated European painting in the 1920s and 1930s.
Image:The Tilled Field.jpg 1923-1924, abstract Surrealism ]
Image:DasUndbild.jpg 1919, collage Dada ]
In 1924 André Breton published the [[Surrealist Manifesto]].The Surrealist movement in painting became synonymous with the avant-garde and which featured artists whose works varied from the abstract to the super-realist. With works on paper like Machine Turn Quickly,(above) Francis Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealism art. Yves Tanguy René Magritte and Salvador Dalí are particularly known for their realistic depictions of dream imagery and fantastic manifestations of the imagination. Joan Miró s The Tilled Fieldof 1923-1924 verges on abstraction, this early painting of a complex of objects and figures, and arrangements of sexually active characters; was Miros first Surrealist masterpiece Spector, Nancy. "http://www.guggenheimcollection.org/site/artist_work_md_109_7.html The Tilled Field, 1923-1924]". Solomon R. Guggenheim Museum display caption. Retrieved on 30 May 2008. The more abstract Joan Miró Jean Arp André Masson and Max Ernst were very influential, especially in the United States during the 1940s.
Image:MagrittePipe.jpg 1928-1929, Surrealism ]
Throughout the 1930s, Surrealism continued to become more visible to the public at large. A British Surrealist Group and, according to Breton, their 1936 London International Surrealist Exhibition was a high water mark of the period and became the model for international exhibitions. Surrealist groups in Japan, and especially in Latin America the Caribbean and in Mexico produced innovative and original works.
Dalí and René Magritte created some of the most widely recognized images of the movement. The 1928/1929 painting This Is Not A Pipe,by René Magritte is the subject of a Michel Foucault 1973 book, This is not a Pipe(English edition, 1991), that discusses the painting and its paradox Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935.
Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, and perception, sometimes evoking empathy from the viewer, sometimes laughter and sometimes outrage and bewilderment.
1931 marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: in one example (see gallery above) liquid shapes become the trademark of Dalí, particularly in his [[The Persistence of Memory]] which features the image of watches that sag as if they are melting. Evocations of time and its compelling mystery and absurdity.http://www.moma.org/collection/browse_results.php?object_id79018The Persistence of Memory in the MoMA Online Collection
The characteristics of this style - a combination of the depictive, the abstract, and the psychological - came to stand for the alienation which many people felt in the Modernism period, combined with the sense of reaching more deeply into the psyche, to be "made whole with ones individuality."
File:Murdering Airplane.jpg 1920, early Surrealism ]
Max Ernst whose 1920 painting Murdering Airplane,studied philosophy and psychology in Bonn and was interested in the alternative realities experienced by the insane. His paintings may have been inspired by the psychoanalyst Sigmund Freud s study of the delusions of a paranoiac, Daniel Paul Schreber. Freud identified Schrebers fantasy of becoming a woman as a [[castration complex]].The central image of two pairs of legs refers to Schrebers hermaphroditic desires. Ernsts inscription on the back of the painting reads: The picture is curious because of its symmetry. The two sexes balance one another.lt;ref>http://www.tate.org.uk/servlet/ViewWork?cgroupid999999961&workid4133&searchid19833&tabviewtext From the Tate Modern]
During the 1920s André Masson s work was enormously influential in helping the newly arrived in Paris and young artist Joan Miró find his roots in the new Surrealist painting. Miró acknowledged in letters to his dealer Pierre Matisse the importance of Masson as an example to him in his early years in Paris.
Long after personal, political and professional tensions have fragmented the Surrealist group into thin air and ether, Magritte, Miro, Dalí and the other Surrealists continue to define a visual program in the arts. Other prominent surrealist artists include Giorgio de Chirico Méret Oppenheim Toyen Grégoire Michonze Roberto Matta Kay Sage Leonora Carrington Dorothea Tanning and Leonor Fini among others.
Image:Egon Schiele 079.jpg|Egon Schiele Symbolism (arts) and Expressionism 1912
File:Kirchner 1913 Street, Berlin.jpg|Ernst Kirchner Die Brücke 1913
Image:Amadeo Modigliani 012.jpg|Amadeo Modigliani Symbolism (arts) and Expressionism 1917
Image:Davis steeple street.jpg|Stuart Davis (painter) American Modernism 1922
Image:Otto Dix Sy von Harden.jpg 1926, German Expressionism ]
Der Blaue Reiter was a German movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded the previous decade in 1905 and was a group of German expressionist artists formed in Dresden in 1905. Founding members of Die Brücke were Fritz Bleyl Erich Heckel Ernst Ludwig Kirchner and Karl Schmidt-Rottluff Later members included Max Pechstein Otto Mueller and others. The group was one of the seminal ones, which in due course had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism http://www.bruecke-museum.de/englbleyl.htm "The Artists Association Brücke"], Brücke Museum. Retrieved 7 September 2007.
Wassily Kandinsky Franz Marc August Macke Alexej von Jawlensky whose psychically expressive painting of the Russian dancer Portrait of [[Alexander Sakharoff]],1909 is in the gallery above, Marianne von Werefkin Lyonel Feininger and others founded the Der Blaue Reiter group in response to the rejection of Kandinskys painting Last Judgementfrom an exhibition. Der Blaue Reiter lacked a central artistic manifesto, but was centered around Kandinsky and Marc. Artists Gabriele Munter and Paul Klee were also involved.
Image:Tale à la Hoffmann by Paul Klee 1921.jpg 1921, Bauhaus ]
The name of the movement comes from a painting by Kandinsky created in 1903 (see illustration). It is also claimed that the name could have derived from Marcs enthusiasm for horses and Kandinskys love of the colour blue. For Kandinsky, blueis the colour of spirituality: the darker the blue, the more it awakens human desire for the eternal.
In the USA during the period between World War I and World War II painters tended to go to Europe for recognition. Artists like Marsden Hartley Patrick Henry Bruce Gerald Murphy and Stuart Davis (painter) created reputations abroad. In New York City, Albert Pinkham Ryder and Ralph Albert Blakelock were influential and important figures in advanced American painting between 1900 and 1920. During the 1920s photographer Alfred Stieglitz exhibited Georgia O'Keeffe Arthur Dove Alfred Henry Maurer Charles Demuth John Marin and other artists including European Masters Henri Matisse Auguste Rodin Henri Rousseau Paul Cézanne and Pablo Picasso at his gallery [[the 291]].
[[Expressionism]]and [[Symbolism (arts)|Symbolism]]are broad rubrics that describes several important and related movements in 20th century painting that dominated much of the avant-garde art being made in Western, Eastern and Northern Europe. Expressionism was painted largely between World War I and World War II, mostly in France, Germany, Norway, Russia, Belgium, and Austria. Expressionist artists are related to both Surrealism and Symbolism (arts) and are each uniquely and somewhat eccentrically personal. Fauvism Die Brücke and Der Blaue Reiter are three of the best known groups of Expressionist and Symbolist painters. Artists as interesting and diverse as Marc Chagall Gustav Klimt Egon Schiele Edvard Munch Emil Nolde Chaim Soutine James Ensor Oskar Kokoschka Ernst Ludwig Kirchner Max Beckmann Franz Marc Otto Dix Käthe Schmidt Kollwitz Georges Rouault Amedeo Modigliani and some of the Americans abroad like Marsden Hartley and Stuart Davis (painter) were considered influential expressionist painters. Although Alberto Giacometti is primarily thought of as an intense Surrealist sculptor he made intense expressionist paintings of figures as well.
Image:Republican Automatons George Grosz 1920.jpg|George Grosz 1920, Neue Sachlichkeit
Image:People-of-Chilmark-Benton-1920-lrg.jpg|Thomas Hart Benton (painter) 1920, American scene painting
Image:Bellows George Dempsey and Firpo 1924.jpg|George Bellows 1924, American realism
File:Charles Demuth - The Figure 5 in Gold (1928).jpg|Charles Demuth 1928, American Precisionism (proto Pop Art
Image:John Brown Painting.JPG 1938-1940, Social Realism ]
During the 1920s and the 1930s and the Great Depression Surrealism, late Cubism, the Bauhaus De Stijl Dada, German Expressionism, Expressionism, and modernist and masterful color painters like Henri Matisse and Pierre Bonnard characterized the European art scene. In Germany Max Beckmann Otto Dix George Grosz and others politicized their paintings, foreshadowing the coming of World War II. While in America American Scene painting and the Social Realism and Regionalism (art) movements that contained both political and social commentary dominated the art world. Artists like Ben Shahn Thomas Hart Benton (painter) Grant Wood George Tooker John Steuart Curry Reginald Marsh (artist) and others became prominent. In Latin America besides the Uruguay n painter Joaquín Torres García and Rufino Tamayo from Mexico, the Mexican muralism with Diego Rivera David Siqueiros José Orozco Pedro Nel Gómez and Santiago Martinez Delgado and the Symbolism (arts) paintings by Frida Kahlo began a renaissance of the arts for the region, with a use of color and historic, and political messages. Frida Kahlo s Symbolist works also relate strongly to Surrealism and to the Magic Realism movement in literature. The psychological drama in many of Kahlos self portraits (above) underscore the vitality and relevance of her paintings to artists in the 21st century.
Image:americangothic.jpg 1930, Social Realism ]
[[American Gothic]]is a painting by Grant Wood from 1930. Portraying a pitchfork holding farmer and a younger woman in front of a house of Carpenter Gothic style, it is one of the most familiar images in 20th century American art Art critics had favorable opinions about the painting, like Gertrude Stein and Christopher Morley they assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson s 1919 [[Winesburg, Ohio (novel)|Winesburg, Ohio]] Sinclair Lewis 1920 [[Main Street (novel)|Main Street]] and Carl Van Vechten s The Tattooed Countessin literature.Fineman, Mia, http://www.slate.com/id/2120494/ The Most Famous Farm Couple in the World: Why American Gothic still fascinates.], [[Slate (magazine)|Slate]] 8 June 2005 However, with the onset of the Great Depression the painting came to be seen as a depiction of steadfast American pioneer spirit.
File:Palacio de Bellas Artes - Mural El Hombre in cruce de caminos Rivera 3.jpg Recreation of [[Man at the Crossroads]](renamed Man, Controller of the Universe , originally created in 1934, Mexican muralism ]
Diego Rivera is perhaps best known by the public world for his 1933 mural, "Man at the Crossroads , in the lobby of the RCA Building at Rockefeller Center When his patron Nelson Rockefeller discovered that the mural included a portrait of Lenin and other communist imagery, he fired Rivera, and the unfinished work was eventually destroyed by Rockefellers staff. The film [[Cradle Will Rock]]includes a dramatization of the controversy. Frida Kahlo (Riveras wifes) works are often characterized by their stark portrayals of pain. Of her 143 paintings 55 are Self portrait which frequently incorporate symbolic portrayals of her physical and psychological wounds. Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her paintings bright colors and dramatic symbolism. Christian and Jewish themes are often depicted in her work as well; she combined elements of the classic religious Mexican tradition—which were often bloody and violent—with surrealist renderings. While her paintings are not overtly Christian - she was, after all, an avowed communist - they certainly contain elements of the macabre Mexican Christian style of religious paintings.
Political activism was an important piece of David Siqueiros life, and frequently inspired him to set aside his artistic career. His art was deeply rooted in the Mexican Revolution a violent and chaotic period in Mexican history in which various social and political factions fought for recognition and power. The period from the 1920s to the 1950s is known as the Mexican Renaissance, and Siqueiros was active in the attempt to create an art that was at once Mexican and universal. He briefly gave up painting to focus on organizing miners in Jalisco. He ran a political art workshop in New York City in preparation for the 1936 General Strike for Peace and May Day parade The young Jackson Pollock attended the workshop and helped build float (parade) for the parade. Between 1937 and 1938 he fought in the Spanish Civil War alongside the Spanish Republican forces, in opposition to Francisco Franco s military coup. He was exile twice from Mexico, once in 1932 and again in 1940, following his assassination attempt on Leon Trotsky
Image:Max Beckmanns Self-portrait with Horn, 1938-1940.jpg|Max Beckmann 1938-1940, Expressionism
Image:Kandinsky 1939 Composition-X.png|Wassily Kandinsky Composition X1939, Geometric abstraction
Image:master-bill.jpg|Arshile Gorky 1929-1936, pre Abstract Expressionism
Image:Frida Kahlo (self portrait).jpg|Frida Kahlo 1940, Latin American Symbolism (arts)
During the 1930s radical leftist politics characterized many of the artists connected to Surrealism including Pablo Picasso Lewis, Helena. Dada Turns Red 1990. University of Edinburgh Press. A history of the uneasy relations between Surrealists and Communists from the 1920s through the 1950s. On 26 April 1937, during the Spanish Civil War the Basque Country (autonomous community) town of Gernika was the scene of the "Bombing of Gernika by the Condor Legion of Nazi Germanys Luftwaffe. The Germans were attacking to support the efforts of Francisco Franco to overthrow the Basque Government and the Spanish Republican government. The town was devastated, though the Biscayan assembly and the Oak of Gernika survived. Pablo Picasso painted his mural sized [[Guernica (painting)|Guernica]]to commemorate the horrors of the bombing.
Image:PicassoGuernica.jpg Guernica (painting) 1937, protest against Fascism ]
In its final form, Guernicais an immense black and white, 3.5 metre (11 ft) tall and 7.8 metre (23 ft) wide mural painted in oil. The mural presents a scene of death, violence, brutality, suffering, and helplessness without portraying their immediate causes. The choice to paint in black and white contrasts with the intensity of the scene depicted and invokes the immediacy of a newspaper photograph.
http://www.arthistoryarchive.com/arthistory/cubism/Pablo-Picasso.html Pablo Picasso - Biography, Quotes & Paintings], retrieved 14 June 2007.
Picasso painted the mural sized painting called [[Guernica (painting)|Guernica]]in protest of the bombing. The painting was first exhibited in Paris in 1937, then Scandinavia then London in 1938 and finally in 1939 at Picassos request the painting was sent to the United States in an extended loan (for safekeeping) at MoMA The painting went on a tour of museums throughout the USA until its final return to the Museum of Modern Art in New York City where it was exhibited for nearly thirty years. Finally in accord with Pablo Picasso s wish to give the painting to the people of Spain as a gift, it was sent to Spain in 1981.
During the Great Depression of the 1930s, through the years of World War II American art was characterized by Social Realism and American Scene Painting (as seen above) in the work of Grant Wood Edward Hopper Ben Shahn Thomas Hart Benton (painter) and several others. [[Nighthawks]](1942) is a painting by Edward Hopper that portrays people sitting in a downtown diner late at night. It is not only Hoppers most famous painting, but one of the most recognizable in American art. It is currently in the collection of the Art Institute of Chicago The scene was inspired by a diner (since demolished) in Greenwich Village Hoppers home neighborhood in Manhattan Hopper began painting it immediately after the attack on Attack on Pearl Harbor After this event there was a large feeling of gloominess over the country, a feeling that is portrayed in the painting. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. This portrayal of modern urban life as empty or lonely is a common theme throughout Hoppers work.
The Dynamic for artists in Europe during the 1930s deteriorated rapidly as the Nazis power in Germany and across Eastern Europe increased. The climate became so hostile for artists and art associated with Modernism and Abstract art that many left for the Americas. [[Degenerate art]]was a term adopted by the Nazi regime in Germany to describe virtually all modern art Such art was banned on the grounds that it was un-German or Jewish Bolshevism in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely.
Degenerate Artwas also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. German artist Max Beckmann and scores of others fled Europe for New York. In New York City a new generation of young and exciting Modernist painters led by Arshile Gorky Willem de Kooning and others were just beginning to come of age.
Arshile Gorky s portrait of someone who might be Willem de Kooning (above) is an example of the evolution of Abstract Expressionism from the context of figure painting, cubism and surrealism Along with his friends de Kooning and John D. Graham Gorky created bio-morphically shaped and abstracted figurative compositions that by the 1940s evolved into totally abstract paintings. Gorkys work seems to be a careful analysis of memory, emotion and shape, using line and color to express feeling and nature.
Image:Max Beckmann's 'Self-portrait with Horn', 1938-1940.jpg 1938-1940 Expressionism ]
Image:Frida Kahlo (self portrait).jpg 1940, Latin American Symbolism (arts) ]
Image:Office At Night.JPG|Edward Hopper Office At Night(1940), American Scene painting
Image:Nighthawks.jpg 1942, American Scene painting ]
Image:Amoskeag Canal, Sheeler.jpg|Charles Sheeler Amoskeag Canal1948
Image:Christinasworld.jpg|Andrew Wyeth 1948, realism (arts)
Image:Freud, girl-white-dog.jpg|Lucian Freud 1951 - 1952, British Figurative painting
The 1940s in New York City heralded the triumph of American abstract expressionism a modernist movement that combined lessons learned from Henri Matisse Pablo Picasso Surrealism, Joan Miró Cubism, Fauvism and early Modernism via great teachers in America like Hans Hofmann and John D. Graham American artists benefited from the presence of Piet Mondrian Fernand Léger Max Ernst and the André Breton group, Pierre Matisses gallery, and Peggy Guggenheim s gallery [[The Art of This Century]] as well as other factors.
Post-Second World War American painting called Abstract expressionism included artists like Jackson Pollock Willem de Kooning Arshile Gorky Mark Rothko Hans Hofmann Clyfford Still Franz Kline Adolph Gottlieb Mark Tobey Barnett Newman James Brooks (painter) Philip Guston Robert Motherwell Conrad Marca-Relli Jack Tworkov William Baziotes Richard Pousette-Dart Ad Reinhardt Hedda Sterne Jimmy Ernst Bradley Walker Tomlin and Theodoros Stamos among others. American Abstract expressionism got its name in 1946 from the art critic Robert Coates (critic) It is seen as combining the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism (art) the Bauhaus and Synthetic Cubism. Abstract expressionism, Action painting and Color Field painting are synonymous with the New York School
Technically Surrealism was an important predecessor for Abstract expressionism with its emphasis on spontaneous, Surrealist automatism or subconscious creation. Jackson Pollock s dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson Another important early m anifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all over" look of Pollocks drip paintings.
Image:Kooning_woman_v.jpg|Willem De Kooning 1952-1953 Figurative art Abstract Expressionism
Image:No. 5, 1948.jpg|Jackson Pollock [[No. 5, 1948]],Abstract Expressionism
Image:Kline_no2.jpg|Franz Kline 1954 Action painting
Image:Still 1957 D1.jpg 1957 Color Field - Abstract Expressionism ]
Image:Hans Hofmann's painting 'The Gate', 1959–60.jpg 1959-1960 Abstract Expressionism and Geometric abstraction ]
Image:'Canticle', casein on paper by Mark Tobey, 1954.jpg 1954, Canticle,Abstract Expressionism Calligraphy Northwest School (art) ]
Image:Oil painting by Sam Francis.jpg 1950-1953, Black and Red,]
Image:Robert Motherwell's 'Elegy to the Spanish Republic No. 110'.jpg Elegy to the Spanish Republic No. 110]
File:Voice of Fire.jpg|Barnett Newman Voice of Fire,1967, Color Field - Abstract Expressionism
Additionally, Abstract expressionism has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, rather nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist. Pollocks energetic "action painting ", with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque Womenseries of Willem de Kooning As seen above in the gallery Woman Vis one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first of these paintings, Woman Icollection: The Museum of Modern Art New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished. The art historian Meyer Schapiro saw the painting in de Koonings studio soon afterwards and encouraged the artist to persist. De Koonings response was to begin three other paintings on the same theme; Woman IIcollection: The Museum of Modern Art New York City, [[Woman III]] Tehran Museum of Contemporary Art Woman IV Nelson-Atkins Museum of Art Kansas City, Missouri During the summer of 1952, spent at East Hampton (town), New York de Kooning further explored the theme through drawings and pastels. He may have finished work on Woman Iby the end of June, or possibly as late as November 1952, and probably the other three women pictures were concluded at much the same time.http://www.nga.gov.au/International/Catalogue/Detail.cfm?IRN47761&BioArtistIRN25281&MnuID2&GalID1]National Gallery of Australia lt;/ref> The Woman seriesare decidedly Figurative art Another important artist is Franz Kline as demonstrated by his painting Number 2,1954 (see gallery) as with Jackson Pollock and other Abstract Expressionists, was labelled an "Action Painting because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas.
Clyfford Still Barnett Newman (see above), Adolph Gottlieb and the serenely shimmering blocks of color in Mark Rothko s work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann (see gallery) and Robert Motherwell (gallery) can be comfortably described as practitioners of action painting and Color field
Abstract Expressionism has many stylistic similarities to the Russian artists of the early twentieth century such as Wassily Kandinsky Although it is true that spontaneity or of the impression of spontaneity characterized many of the abstract expressionists works, most of these paintings involved careful planning, especially since their large size demanded it. An exception might be the drip paintings of Pollock.
Image:Hans Hofmann's painting 'The Gate', 1959–60.jpg 1959-1960 Abstract Expressionism and Geometric abstraction ]
Why this style gained mainstream acceptance in the 1950s is a matter of debate. American Social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression but also by the Socialist Realism of Mexico such as David Alfaro Siqueiros and Diego Rivera The political climate after World War II did not long tolerate the social protests of those painters. Abstract expressionism arose during World War II and began to be showcased during the early 1940s at galleries in New York like [[The Art of This Century Gallery]] The late 1940s through the mid 1950s ushered in the McCarthy era It was after World War II and a time of political conservatism and extreme artistic censorship in the United States. Some people have conjectured that since the subject matter was often totally abstract, Abstract expressionism became a safe strategy for artists to pursue this style. Abstract art could be seen as apolitical. Or if the art was political, the message was largely for the insiders. However those theorists are in the minority. As the first truly original school of painting in America, Abstract expressionism demonstrated the vitality and creativity of the country in the post-war years, as well as its ability (or need) to develop an aesthetic sense that was not constrained by the European standards of beauty.
Although Abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the New York School and the San Francisco Bay area. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an all-over painting approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges. The canvas as the arenabecame a credo of Action painting while the integrity of the picture planebecame a credo of the Color Field painters.
Image:Frankenthaler Helen Mountains and Sea 1952.jpg 1952, Color Field painting ]
During the 1950s Color Field painting initially referred to a particular type of abstract expressionism especially the work of Mark Rothko Clyfford Still Barnett Newman Robert Motherwell and Adolph Gottlieb It essentially described abstract paintings with large, flat expanses of color that expressed the sensual, and visual feelings and properties of large areas of nuanced surface. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The overall expanse and gestalt of the work of the early color field painters speaks of an almost religious experience, awestruck in the face of an expanding universe of sensuality, color and surface. During the early to mid-1960s Color Field painting was the term used to describe artists like Jules Olitski Kenneth Noland and Helen Frankenthaler whose works were related to second generation abstract expressionism, and to younger artists like Larry Zox and Frank Stella - all moving in a new direction. Artists like Clyfford Still Mark Rothko Hans Hofmann Morris Louis Jules Olitski Kenneth Noland Helen Frankenthaler Larry Zox and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. In Mountains and Sea,from 1952, (see above) a seminal work of Colorfield painting by Helen Frankenthaler the artist used the stain technique for the first time.
In Europe there was the continuation of Surrealism, Cubism, Dada and the works of Matisse Also in Europe, Tachisme (the European equivalent to Abstract expressionism) took hold of the newest generation. Serge Poliakoff Nicolas de Staël Georges Mathieu Vieira da Silva Jean Dubuffet Yves Klein and Pierre Soulages among others are considered important figures in post-war European painting.
Eventually abstract painting in America evolved into movements such as Neo-Dada Color Field painting, Post painterly abstraction Op art hard-edge painting Minimal art shaped canvas painting, Lyrical Abstraction Neo-expressionism and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements, notably Pop art
Image:Jasper Johnss Flag, Encaustic, oil and collage on fabric mounted on plywood,1954-55.jpg|Jasper Johns 1954-55 pre-Pop Art
Image:Roy Lichtenstein Whaam.jpg|Roy Lichtenstein 1963 Pop Art
Image:Campbells Soup Cans MOMA.jpg|Andy Warhol 1962, Pop Art (repetition (learning)
Image:Hockney, A Bigger Splash.jpg|David Hockney 1967, English Pop Art
Image:WayneThiebaudThreeMachines.jpg 1963, Pop art ]
Image:'The Robe Following Her - 4', oil on canvas painting by Jim Dine, 1984-5.jpg 1984-1985, Pop art ]
Image:Alex Katz's 1970 painting of his son 'Vincent with Open Mouth'.jpg 1970, Pop art ]
Image:'Still Life -20', mixed media work by --Tom Wesselmann--, 1962, --Albright-Knox Gallery--.jpg 1962, Collage and Pop art ]
The term "Pop Art" was used by Lawrence Alloway in England in 1958 to describe paintings that celebrated consumerism of the post World War II era. This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated material consumer culture, advertising, and iconography of the mass production age.Topics in American Art since 1945, [[Pop Art]] the words p.119-122, by Lawrence Alloway copyright 1975 by W.W.Norton and Company, NYC ISBN 0-393-04401-7 The early works of David Hockney and the works of Richard Hamilton (artist) Peter Blake (artist) and Eduardo Paolozzi were considered seminal examples in the movement.
Pop Art in America was to a large degree initially inspired by the works of Jasper Johns Larry Rivers and Robert Rauschenberg Although the paintings of Gerald Murphy Stuart Davis (painter) and Charles Demuth during the 1920s and 1930s set the table for Pop Art in America. In New York City during the mid 1950s Robert Rauschenberg and Jasper Johns created works of art that at first seemed to be continuations of Abstract expressionist painting. Actually their works and the work of Larry Rivers were radical departures from abstract expressionism especially in the use of banal and literal imagery and the inclusion and the combining of mundane materials into their work. The innovations of Johns specific use of various images and objects like chairs, numbers, targets, beer cans and the American Flag Rivers paintings of subjects drawn from popular culture such as George Washington crossing the Delaware and his inclusions of images from advertisements like the camel from Camel cigarettes and Rauschenbergs surprising constructions using inclusions of objects and pictures taken from popular culture, hardware stores, junkyards, the city streets, and taxidermy gave rise to a radical new movement in American art Eventually by 1963 the movement came to be known worldwide as Pop Art
American Pop-Art is exemplified by artists: Andy Warhol Claes Oldenburg Wayne Thiebaud James Rosenquist Jim Dine Tom Wesselmann and Roy Lichtenstein among others. Pop art merges popular and mass culture with fine art, while injecting humor, irony, and recognizable imagery and content into the mix. In October 1962 the Sidney Janis Gallery mounted The New Realiststhe first major Pop Art group exhibition in an uptown art gallery in New York City. Sidney Janis mounted the exhibition in a 57th Street storefront near his gallery at 15 E. 57th Street. The show sent shockwaves through the New York School and reverberated worldwide. Earlier in the fall of 1962 an historically important and ground-breaking [[New Painting of Common Objects]]exhibition of Pop Art curated by Walter Hopps at the Pasadena Art Museum sent shock waves across the Western United States.
While in the downtown scene in New York Citys East Village, Manhattan Tenth street galleries artists were formulating an American version of Pop Art Claes Oldenburg had his storefront, and the Green Gallery on 57th Street (Manhattan) began to show Tom Wesselmann and James Rosenquist Later Leo Castelli exhibited other American artists including the bulk of the careers of Andy Warhol and Roy Lichtenstein and his use of Benday dots, a technique used in commercial reproduction. There is a connection between the radical works of Duchamp, and Man Ray the rebellious Dadaists - with a sense of humor; and Pop Artists like Alex Katz (who became known for his parodys of portrait photography and suburban life), Claes Oldenburg Andy Warhol Roy Lichtenstein and the others.
While throughout the 20th century many painters continued to practice landscape and figurative painting with contemporary subjects and solid technique, like Milton Avery John D. Graham Fairfield Porter Edward Hopper Balthus Francis Bacon (artist) Nicolas de Staël Andrew Wyeth Lucian Freud Frank Auerbach Philip Pearlstein David Park Nathan Oliveira David Hockney Malcolm Morley Richard Estes Ralph Goings Audrey Flack Chuck Close Susan Rothenberg Eric Fischl Vija Celmins and Richard Diebenkorn
File:Summertime Hopper.jpg|Edward Hopper 1943, Summertime Cityscape
Image:Balthusnude.jpg|Balthus 1951, Figure painting expressionism
Image:Office in a small city hopper 1953.jpg 1953, Cityscape ]
Image:Milton Avery - Green Sea, oil on canvas 1958, University of Kentucky Art Museum (Lexington, Kentucky).jpg|Milton Avery 1958, Landscape painting
Image:Study after Velazquezs Portrait of Pope Innocent X.jpg|Francis Bacon (artist) 1953, British Expressionism
During the 1930s through the 1960s abstract painting in America and Europe evolved into movements such as Abstract Expressionism Color Field painting, Post painterly abstraction Op art hard-edge painting Minimal art shaped canvas painting, and Lyrical Abstraction Other artists reacted as a response to the tendency toward abstraction, allowing figurative imagery to continue through various new contexts like the Bay Area Figurative Movement in the 1950s and new forms of expressionism from the 1940s through the 1960s. In Italy during this time, Giorgio Morandi was the foremost still life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements.David Piper, p. 635 Throughout the 20th century many painters practiced Realism (visual arts) and used expressive imagery; practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like still-life painter Giorgio Morandi Milton Avery John D. Graham Fairfield Porter Edward Hopper Andrew Wyeth Balthus Francis Bacon (artist) Leon Kossoff Frank Auerbach Lucian Freud Philip Pearlstein Willem de Kooning Arshile Gorky Grace Hartigan Robert De Niro, Sr. Elaine de Kooning and others. Along with Henri Matisse Pablo Picasso Pierre Bonnard Georges Braque and other 20th century masters.
[[Study after Velázquezs Portrait of Pope Innocent X]], 1953 (see above) is a painting by the Irish born artist Francis Bacon (artist) and is an example of Post World War II European Expressionism The work shows a distorted version of the Portrait of Innocent X painted by the Spanish artist Diego Velázquez in 1650. The work is one of a series of variants of the Velázquez painting which Bacon executed throughout the 1950s and early 1960s, over a total of forty-five works.Schmied, Wieland (1996). Francis Bacon: Commitment and Conflict (Munich) Prestel. ISBN 3-7913-1664-8, p.17 When asked why he was compelled to revisit the subject so often, Bacon replied that he had nothing against the Popes, that he merely "wanted an excuse to use these colours, and you cant give ordinary clothes that purple colour without getting into a sort of false Fauvism manner."Peppiatt, Michael, Anatomy of an Enigma Westview Press. ISBN 0-8133-3520-5 (1996), p.147 The Pope in this version seethes with anger and aggression, and the dark colors give the image a grotesque and nightmarish appearance.Schmied (1996), p20 The pleated curtains of the backdrop are rendered transparent, and seem to fall through the Popes face.Peppiatt (1996), p148
Italian painter Giorgio Morandi was an important 20th century, early pioneer of Minimalism. Born in Bologna, Italy in 1890, throughout his career, Morandi concentrated almost exclusively on still lives and landscapes, except for a few self-portraits. With great sensitivity to tone, color, and compositional balance, he would depict the same familiar bottles and vases again and again in paintings notable for their simplicity of execution. Morandi executed 133 etchings, a significant body of work in its own right, and his drawings and watercolors often approach abstraction in their economy of means. Through his simple and repetitive motifs and economical use of color, value and surface, Morandi became a prescient and important forerunner of Minimalism He died in Bologna in 1964.
After World War II the term School of Paris often referred to Tachisme the European equivalent of American Abstract expressionism and those artists are also related to COBRA (avant-garde movement) Important proponents being Jean Dubuffet Pierre Soulages Nicholas de Staël Hans Hartung Serge Poliakoff and Georges Mathieu among several others. During the early 1950s Jean Dubuffet (who was always a figurative artist), and Nicolas de Staël abandoned abstraction, and returned to imagery via figuration and landscape. De Staël s work was quickly recognised within the post-war art world, and he became one of the most influential artists of the 1950s. His return to representation (seascapes, footballers, jazz musicians, seagulls) during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement as many of those abstract painters like Richard Diebenkorn David Park Elmer Bischoff Wayne Thiebaud Nathan Oliveira Joan Brown and others made a similar move; returning to imagery during the mid-1950s. Much of de Staël s late work - in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color Field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël s bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop art of the 1960s.
Image:'Still Life with Cup', oil on canvas painting by Paul Wonner, 1959, private collection.jpg 1959, Bay Area Figurative Movement ]
Image:Jasper Johns's 'Map', 1961.jpg 1961, Neo-Dada ]
Image:Robert Rauschenberg's untitled 'combine', 1963.jpg 1963, Neo-Dada ]
Image:20070624 Dubuffet - Court les rues.JPG|Jean Dubuffet 1962, Art Brut
Image:Cityscape I 360.jpg|Richard Diebenkorn 1963, Bay Area Figurative Movement
Image:Richard Estes.jpg|Richard Estes 1968, Photorealism
Image:Fairfield Porters painting Under the Elms, 1971 - 1972.jpg|Fairfield Porter 1971-1972, East Coast of the United States Figurative painting
Image:Ralph Goings.jpg 1982, Photorealism ]
Image:Jasper Johns's 'Map', 1961.jpg 1961, Neo-Dada ]
Image:Robert Rauschenberg's untitled 'combine', 1963.jpg 1963, Neo-Dada ]
During the 1950s and 1960s as abstract painting in America and Europe evolved into movements such as Color Field painting, Post painterly abstraction Op art hard-edge painting Minimal art shaped canvas painting, Lyrical Abstraction and the continuation of Abstract expressionism Other artists reacted as a response to the tendency toward abstraction with Outsider art Jean Dubuffet L’Art brut préféré aux arts culturels1949](engl in: Art brut. Madness and Marginalia special issue of Art & Text No. 27, 1987, p. 31-33) Fluxus Neo-Dada New Realism allowing imagery to re-emerge through various new contexts like Pop art the Bay Area Figurative Movement and later in the 1970s Neo-expressionism The Bay Area Figurative Movement of whom David Park Elmer Bischoff Nathan Oliveira and Richard Diebenkorn whose painting Cityscape 1,1963 is a typical example (see above) were influential members flourished during the 1950s and 1960s in California Although throughout the 20th century painters continued to practice Realism (visual arts) and use imagery, practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like Milton Avery Edward Hopper Jean Dubuffet Francis Bacon (artist) Frank Auerbach Lucian Freud Philip Pearlstein and others. Younger painters practiced the use of imagery in new and radical ways. Yves Klein Arman Martial Raysse Christo Niki de Saint Phalle David Hockney Alex Katz Malcolm Morley Ralph Goings Audrey Flack Richard Estes Chuck Close Susan Rothenberg Eric Fischl and Vija Celmins were a few who became prominent between the 1960s and the 1980s. Fairfield Porter (see above) was largely self-taught, and produced representational work in the midst of the abstract expressionism movement. His subjects were primarily landscapes, domestic interiors and portraits of family, friends and fellow artists, many of them affiliated with the New York School of writers, including John Ashbery Frank O'Hara and James Schuyler Many of his paintings were set in or around the family summer house on Great Spruce Head Island, Maine
Also during the 1960s and 1970s, there was a reaction against painting. Critics like Douglas Crimp viewed the work of artists like Ad Reinhardt and declared the death of painting. Artists began to practice new ways of making art. New movements gained prominence some of which are: Postminimalism Earth art Video art Installation art arte povera performance art body art fluxus mail art the situationists and conceptual art among others.
Neo-Dada is also a movement that started 1n the 1950s and 1960s and was related to Abstract expressionism only with imagery. Featuring the emergence of combined manufactured items, with artist materials, moving away from previous conventions of painting. This trend in art is exemplified by the work of Jasper Johns and Robert Rauschenberg whose "combines" in the 1950s were forerunners of Pop Art and Installation art and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography. Robert Rauschenberg (see untitled combine,1963, above), Jasper Johns Larry Rivers John Chamberlain (sculptor) Claes Oldenburg George Segal (artist) Jim Dine and Edward Kienholz among others were important pioneers of both abstraction and Pop Art; creating new conventions of art-making; they made acceptable in serious contemporary art circles the radical inclusion of unlikely materials as parts of their works of art.
Image: Meschers EK 42 (8355).jpg|Ellsworth Kelly 1951, Hard-edge painting
Image:Frankenthaler Helen Mountains and Sea 1952.jpg 1952, Color Field painting ]
Image:'Where', 252 x 362 cm. magna on canvas painting by Morris Louis, Hirshhorn Museum and Sculpture Garden, 1960.jpg 1960 Minimalism Color field ]
Image:'Bridge' by Kenneth Noland, 1964..jpg 1964, Post-Painterly Abstraction ]
Image:IKB 191.jpg|Yves Klein 1962, Monochrome painting
Image:Josef Alberss painting Homage to the Square, 1965.jpg|Josef Albers 1965, Geometric abstraction
Image:Newman-Who's Afraid of Red, Yellow and Blue.jpg 1966, Color Field - Minimalism ]
Image:Riley, Cataract 3.jpg 1967, Op art ]
Image:TotRY.jpg|Richard Anuszkiewicz 1985 Op Art
Color Field painting clearly pointed toward a new direction in American painting, away from abstract expressionism Color Field painting is related to Post-painterly abstraction Suprematism Abstract Expressionism Hard-edge painting and Lyrical Abstraction
Image:'Where', 252 x 362 cm. magna on canvas painting by Morris Louis, Hirshhorn Museum and Sculpture Garden, 1960.jpg 1960 Minimalism Color field ]
During the 1960s and 1970s abstract painting continued to develop in America through varied styles. Geometric abstraction Op art, hard-edge painting Color Field painting and Minimalism painting, were some interrelated directions for advanced abstract painting as well as some other new movements. Morris Louis was an important pioneer in advanced Colorfield painting his work can serve as a bridge between Abstract expressionism Colorfield painting and Minimal Art Two influential teachers Josef Albers and Hans Hofmann introduced a new generation of American artists to their advanced theories of color and space. Josef Albers is best remembered for his work as an Geometric abstraction st painter and theorist. Most famous of all are the hundreds of paintings and prints that make up the series Homage to the Square,(see gallery). In this rigorous series, begun in 1949, Albers explored chromatic interactions with flat colored squares arranged concentrically on the canvas. Albers theories on art and education were formative for the next generation of artists. His own paintings form the foundation of both hard-edge painting and Op art.
Josef Albers Hans Hofmann Ilya Bolotowsky Burgoyne Diller Victor Vasarely Bridget Riley Richard Anuszkiewicz Frank Stella Morris Louis Kenneth Noland Terry Fenton, online essay about Kenneth Noland and acrylic paint http://www.sharecom.ca/noland/materials] accessed 30 April 2007 Ellsworth Kelly Barnett Newman Larry Poons Ronald Davis Larry Zox and Al Held are artists closely associated with Geometric abstraction Op art, Color Field painting, and in the case of Hofmann and Newman Abstract expressionism as well.
In 1965, an exhibition called The Responsive Eye curated by William C. Seitz, was held at the Museum of Modern Art in New York City. The works shown were wide ranging, encompassing theMinimalism of Frank Stella the Op art of Larry Poons, the work of Alexander Liberman alongside the masters of the Op Art movement: Victor Vasarely Richard Anuszkiewicz Bridget Riley and others. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. Op art, also known as optical art, is used to describe some paintings and other works of art which use optical illusion . Op art is also closely akin to geometric abstraction and hard-edge painting Although sometimes the term used for it is perceptual abstraction.
Op art is a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing.John Lancaster. Introducing Op Art London: BT Batsford Ltd, 1973, p. 28. Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.
Image:'Bridge' by Kenneth Noland, 1964..jpg 1964, Post-Painterly Abstraction ]
Color Field painting sought to rid art of superfluous rhetoric. Artists like Clyfford Still Mark Rothko Hans Hofmann Morris Louis Jules Olitski Kenneth Noland Helen Frankenthaler Larry Zox and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art artists wanted to present each painting as one unified, cohesive, monolithic image.
Frank Stella Kenneth Noland Ellsworth Kelly Barnett Newman Ronald Davis Neil Williams, Robert Mangold Charles Hinman, Richard Tuttle David Novros, and Al Loving are examples of artists associated with the use of the shaped canvas during the period beginning in the early 1960s. Many Geometric abstract art sts, minimalism and Hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract art formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Andre Emmerich Gallery, the Leo Castelli Gallery, the Richard Feigen Gallery, and the Park Place Gallery were important showcases for Color Field painting shaped canvas painting and Lyrical Abstraction in New York City during the 1960s. There is a connection with post-painterly abstraction which reacted against abstract expressionism mysticism, hyper-subjectivity, and emphasis on making the act of painting itself dramatically visible - as well as the solemn acceptance of the flat rectangle as an almost ritual prerequisite for serious painting. During the 1960s Color Field painting and Minimal art were often closely associated with each other. In actuality by the early 1970s both movements became decidedly diverse.
Image:BlackGreyBeat.jpg|Gene Davis (painter) 1964, Washington Color School
Image:Frank Stellas Harran II, 1967.jpg|Frank Stella 1967, Shaped Canvas
Image:P0055av_Ring.jpg|Ronald Davis 1968, Abstract Illusionism
Image:Forwilliamblake.jpg|Ronnie Landfield 1968, Lyrical Abstraction
Another related movement of the late 1960s Lyrical Abstraction is a European term that was borrowed by Larry Aldrich (the founder of the Aldrich Contemporary Art Museum Ridgefield Connecticut) in 1969 to describe what Aldrich said he saw in the studios of many artists at that time.Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November-December 1969, pp.104-113. It is also the name of an exhibition that originated in the Aldrich Museum and traveled to the Whitney Museum of American Art and other museums throughout the United States between 1969 and 1971.Lyrical Abstraction, Exhibition Catalogue, the Aldrich Museum of Contemporary Art, Ridgefield, Conn. 1970.
Lyrical Abstraction in the late 1960s is characterized by the paintings of Dan Christensen Ronnie Landfield Peter Young (artist) and others, and along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)Movers and Shakers, New York "Leaving C&M", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7. sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse Lyrical Abstraction, Conceptual Art Postminimalism Earth Art Video Performance art Installation art along with the continuation of Fluxus Abstract Expressionism Color Field Painting Hard-edge painting Minimal Art Op art Pop Art Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.Martin, Ann Ray, and Howard Junker. The New Art: Its Way, Way Out, Newsweek 29 July 1968: pp.3,55-63. Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.
Lyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism Lyrical Abstraction as exemplified by the 1968 Ronnie Landfield painting For William Blake,(above) especially in the freewheeling usage of paint - texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting However the styles are markedly different. Setting it apart from Abstract Expressionism and Action Painting of the 1940s and 1950s is the approach to composition and drama. As seen in Action Painting there is an emphasis on brushstrokes, high compositional drama, dynamic compositional tension. While in Lyrical Abstraction there is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility.The Aldrich Museum of Contemporary Art, Lyrical Abstraction,exhibition: 5 April through 7 June 1970,Lyrical AbstractionWhitney Museum of American Art, New York, 25 May - 6 July 1971
Image:Untitled painting by Larry Poons, ca.1964.jpg|Larry Poons ca. 1964, Hard-edge painting
Image:Robert Mangolds acrylic and pencil X Within X Orange, 1981.jpg|Robert Mangold 1981, Minimalism
Image:Red Canvas by Richard Tuttle, 1967, Corcoran Gallery of Art.jpg|Richard Tuttle 1967, Postminimalism
Image: The Dylan Painting.jpg|Brice Marden 1966/1986, Monochrome painting
Agnes Martin Robert Mangold (see above), Brice Marden Jo Baer Robert Ryman Richard Tuttle Neil Williams, David Novros, Paul Mogenson, are examples of artists associated with Minimalism and (exceptions of Martin, Baer and Marden) the use of the shaped canvas also during the period beginning in the early 1960s. Many Geometric abstract art sts, minimalists, and Hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract, formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Bykert Gallery and the Park Place Gallery were important showcases for Minimalism and shaped canvas painting in New York City during the 1960s.
During the 1960s and 1970s artists as powerful and influential as Robert Motherwell Adolph Gottlieb Phillip Guston Lee Krasner Cy Twombly Robert Rauschenberg Jasper Johns Richard Diebenkorn Josef Albers Elmer Bischoff Agnes Martin Al Held Sam Francis Ellsworth Kelly Morris Louis Helen Frankenthaler Gene Davis (painter) Frank Stella Kenneth Noland Joan Mitchell Friedel Dzubas and younger artists like Brice Marden Robert Mangold Sam Gilliam http://www.sbmuseart.org/exhibitions/colorscope.web] retrieved June 2, 2010Sean Scully Pat Steir Elizabeth Murray (artist) Larry Poons Walter Darby Bannard Larry Zox Ronnie Landfield Ronald Davis Dan Christensen Joan Snyder, Ross Bleckner Archie Rand Susan Crile and dozens of others produced vital and influential paintings.
During the 1960s and 1970s, there was a reaction against abstract painting. Some critics viewed the work of artists like Ad Reinhardt and declared the death of painting. Artists began to practice new ways of making art. New movements gained prominence some of which are: Postminimalism Earth art Video art Installation art arte povera performance art body art fluxus mail art the situationists and conceptual art among others.
However still other important innovations in abstract painting took place during the 1960s and the 1970s characterized by Monochrome painting and Hard-edge painting inspired by Ad Reinhardt Barnett Newman Milton Resnick and Ellsworth Kelly Artists as diversified as Agnes Martin Al Held Larry Zox Frank Stella Larry Poons Brice Marden and others explored the the power of simplification. The convergence of Color Field painting, Minimal art Hard-edge painting Lyrical Abstraction and Postminimalism blurredthe distinction between movements that became more apparent in the 1980s and 1990s. The Neo-expressionism movement is related to earlier developments in Abstract expressionism Neo-Dada Lyrical Abstraction and Postminimal painting.
Image:gustonphilip.jpg|Philip Guston 1972, pre-Neo-expressionism
Image:Rothhorse2.jpg|Susan Rothenberg 1979, Neo-expressionism
Image:Badboy.jpg|Eric Fischl 1981, Figurative Neo-expressionism
Image:Kiefer.jpg|Anselm Kiefer 1983, European Neo-expressionism
In the late 1960s the abstract expressionist painter Philip Guston helped to lead a transition from abstract expressionism to Neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. These works were inspirational to a new generation of painters interested in a revival of expressive imagery. His painting Painting, Smoking, Eating1973, seen above in the gallery is an example of Gustons final and conclusive return to representation.
In the late 1970s and early 1980s, there was also a return to painting that occurred almost simultaneously in Italy, Germany, France and UK These movements were called Transavantguardia Neue Wilde Figuration Libre http://www.tate.org.uk/collections/glossary/definition.jsp?entryId188 Tate online glossary] Neo-expressionism and the School of London respectively. These painting were characterized by large formats, free expressive mark making, figuration, myth and imagination. All work in this genre came to be labeled neo-expressionism Critical reaction was divided. Some critics regarded it as driven by profit motivations by large commercial galleries. This type of art continues in popularity into the 21st century, even after the art crash of the late 1980s. Anselm Kiefer is a leading figure in European Neo-expressionism by the 1980s, (see To the Unknown Painter1983, in the gallery above) Kiefers themes widened from a focus on Germany role in civilization to the fate of art and culture in general. His work became more sculptural and involves not only national identity and collective memory, but also occult symbol sm, theology and mysticism The theme of all the work is the trauma experienced by entire societies, and the continual rebirth and renewal in life.
During the late 1970s in the United States painters who began working with invigorated surfaces and who returned to imagery like Susan Rothenberg gained in popularity, especially as seen above in paintings like Horse 2,1979. During the 1980s American artists like Eric Fischl (see Bad Boy,1981, above), David Salle Jean-Michel Basquiat Julian Schnabel and Keith Haring and Italian painters like Mimmo Paladino Sandro Chia and Enzo Cucchi among others defined the idea of Neo-expressionism in America.
Neo-expressionism was a style of Modernism painting that became popular in the late 1970s and dominated the art market until the mid-1980s. It developed in Europe as a reaction against the conceptual and minimalism art of the 1960s and 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in a virtually abstract manner), in a rough and violently emotional way using vivid colours and banal colour harmonies. The veteran painters Philip Guston Frank Auerbach Leon Kossoff Gerhard Richter A. R. Penck and Georg Baselitz along with slightly younger artists like Anselm Kiefer Eric Fischl Susan Rothenberg Francesco Clemente Jean-Michel Basquiat Julian Schnabel Keith Haring and many others became known for working in this intense expressionist vein of painting.
Painting still holds a respected position in contemporary art Art is an open field no longer divided by the objective versus non-objective dichotomy. Artists can achieve critical success whether their images are representational or abstract. What has currency is content, exploring the boundaries of the medium, and a refusal to recapitulate the works of the past as an end goal.
Image:La scienza della laziness (The Science of Laziness) by Frank Stella, 1984, oil, enamel and alkyd paint on canvas, etched magnesium, aluminum and fiberglass, National Gallery of Art (Washington, D. C.).jpg 1984
Image:Richard Diebenkorn's painting 'Ocean Park No.129'.jpg 1984]]
Image:'Zim Zum' by Anselm Kiefer, 1990, acrylic, emulsion, crayon, shellac, ashes and canvas on lead, National Gallery of Art (Washington, D. C.).jpg 1990]]
Image:Riley, Shadowplay.jpg 1990
Image:'San Emilio', oil on canvas painting by Mimmo Paladino, 1993, private collection.jpg 1993]]
Image:Brice Marden Vine.jpg 1992-1993
Image:Thedeluge.jpg 1999
Image:Morley, Red Arrows.jpg 2000
Image:Hirst-Beautiful.jpg 2003
Image:Torso2.jpg 2004
Image:Yan Pei-Ming2005, oil on canvas, 'Eros Center, prostituée de Francfort '.jpg 2005 Contemporary art painting from China
At the beginning of the 21st century Contemporary painting and Contemporary art in general continues in several contiguous modes, characterized by the idea of Cultural pluralism The "crisis" in painting and current art and current art criticism today is brought about by Cultural pluralism There is no consensus, nor need there be, as to a representative style of the age. There is an anything goesattitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. Consequently magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.
Hard-edge painting Geometric abstraction Appropriation (art) Hyperrealism Photorealism Expressionism Minimalism Lyrical Abstraction Pop Art Op Art Abstract Expressionism Color Field painting Monochrome painting Neo-expressionism Collage Intermedia painting, Assemblage (art) painting, Digital painting Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting traditional Human physical appearance painting, Landscape painting Portrait painting are a few continuing and current directions in painting at the beginning of the 21st century.
Image:Tetitla Teotihuacan Great Goddess mural (Abracapocus).jpg|Great Goddess mural from the site at Teotihuacán Mexico
Image:Tepantitla Mountain Stream mural Teotihuacan (Luis Tello).jpg|A portion of the actual mural from the Tepantitla compound which appears under the Great Goddess portrait, Mexico
Image:Great Goddess of Teotihuacan (T Aleto).jpg|Mural from the Tepantitla compound showing what has been identified as an aspect of the Great Goddess of Teotihuacan from a reproduction in the National Museum of Anthropology in Mexico City
Image:Jaguar Mural, Teotihuacan.jpg|Jaguar mural from the site at Teotihuacán Mexico
Image:SBmural.jpg|A Mayan art from Guatemala Pre-Classical period (1–250 AD)
Image:Jaguar vase.jpg|Painting on the Lord of the jaguar pelt throne vase, a scene of the Maya civilization 700-800 AD.
Image:Bonampak painting.jpg|A Mayan mural from Bonampak Mexico, 580–800 AD.
Image:Bonampakmural3.jpg|A Mayan mural from Bonampak 580–800 AD
Image:Dresden Codex p09.jpg|Painting from a Maya codices
Image:Jaina-style Drunkard Figurine.jpg|Painted pottery figurine of a drunkard from the burial site at Jaina Island Mayan art, 400–800 AD.
Image:Palenque Relief.jpg|Painted relief of the Maya site Palenque featuring the son of K'inich Ahkal Mo' Naab' III (678–730s?, r. 722–729).
Image:Mayanvase.jpg|Painting on a Maya vase from the Late Classical Period (600–900), from Copán Honduras
Image:Quetzalcoatl Ehecatl.jpg|An Aztec painting from the Codex Borgia
Image:Codex Borbonicus, p11 trecena13.PNG|An Aztec painting from the Codex Borbonicus
Image:Mexico.Tlax.Cacaxtla.01.jpg|Detail from the Battle Mural,c.600-700, Cacaxtla Mexico
Image:Aztec5figure9.jpg|A painting from [[Codex Mendoza]] showing elder [[Aztec]]s being given intoxicants,Mexico, c.1553
Image:Orca_mitica_nasca.jpg|Killer Whale,painted pottery, Nazca culture 300 BC–800 AD, Larco Museum Lima, Peru
Image:Nazca-pottery-(01).png|Painted pottery from the Nazca culture of Peru 300 BC–800 AD
Image:H Luna Frisorestaurado lou.jpg|A Moche mural of a decapitator from the Huaca de la Luna site, Peru 100–700 AD.
Image:Huaca de la Luna - Août 2007.jpg|Moche murals from the Huaca de la Luna site, Peru 100–700 AD.
Image:Huari pottery 01.png|Painted pottery from the Huari culture of Peru 500–1200 AD
Image:Brazilian-Indians.jpg|Body painting, Indigenous peoples in Brazil a Brazilian Indian couple, c.2000
Image:GreatGalleryPanel.jpg|The Great Gallery Pictographs Canyonlands National Park Horseshoe Canyon (Utah) Utah by c. 1500 BCE
Image:pictograph_jqjacobs.jpg|Pictograph southeastern Utah c. 1200 BC Pueblo culture
Image:Chaco Anasazi canteen NPS.jpg|Painted pottery,Anasazi North America: A canteen (pot) excavated from the ruins in Chaco Canyon New Mexico c. 700 AD–1100 AD
Image:Mississippian Underwater Panther ceramic.JPG|Painted ceramic jug showing the underwater panther from the Mississippian culture found at Parkin Archeological State Park#Culture of the Parkin Phase in Cross County, Arkansas c. 1400-1600.
Image:Dahlem Wolfsmaske Haida.jpg|A Haida wolf mask, 1880.
Image:Ceramic Hopi jar - by-Nampeyo - date-ca. 1880 - from-DC1.jpg|A Hopi jar by Nampeyo (c.1860-1942), made in Arizona 1880.
Image:Zuni-girl-with-jar2.png|A girl from the Zuni (tribe) of New Mexico with a painted pottery jar, photographed in c. 1903.
Image:Navajo sandpainting.jpg|Edward S. Curtis [[Navajo people|Navajo]] [[sandpainting]],sepia tone photogravure c. 1907
Image:Zahadolzhá--Navaho.jpg|Navajo people man in ceremonial dress with mask and body paint, c. 1904
Image:Blackhawk-spiritbeing.jpg|Ledger art of Haokah (ca. 1880) by Black Hawk (chief) (Lakota people .
Image:Ledger-sm2.jpg|Kiowa ledger art, possibly of the 1874 Buffalo Wallow battle Red River War
File:Silver horn painting 1880 ohs.jpg|Detail of ledger painting on muslin by Silver Horn (1860-1940), ca. 1880, Oklahoma History Center
File:Carl sweezy 1904.jpg|Work on Paper by Arapaho painter, Carl Sweezy (1881-1953), 1904
Image:UteHideArt3.jpg|An Ute Tribe Shaved Beaver Hide Painting.The Northern Ute would trap beavers, shave images into the animals stretched and cured hides, and use them to decorate their personal and ceremonial dwellings, c. 19th century.
Image:Tlingit totem pole.jpg|Tlingit totem pole in Ketchikan, Alaska circa1901.
Image:Tlingit Kalyaan Totem Pole August 2005.jpg|The Kalyaan Totem Pole of the Tlingit Kiks.ádi Clan, erected at Sitka National Historical Park to commemorate the lives lost in the 1804 Battle of Sitka
Image:Ketchican totem pole 2 stub.jpg|A totem pole in Ketchikan Alaska in the Tlingit style.
Image:Yupik mask Branly 70-1999-1-2.jpg|Fish mask of the [[Yupik]] people, painted wood, Yukon/Kuskokwim region Alaska c. early 20th century
Image:Totem pole (js) 2.jpg|From Saxman Totem Park, Ketchikan, Alaska
Image:Totem pole (js) 3.jpg|From Saxman Totem Park, Ketchikan, Alaska
Image:Totem Park pole 1.jpg|A totem pole in Totem Park, Victoria, British Columbia
Image:Totem Park pole 2.jpg|From Totem Park, Victoria, British Columbia
Image:Petroglyph at Caguana.jpg|Rock [[petroglyph]] overlayed with chalk,Caguana Indigenous Ceremonial Center. Utuado, Puerto Rico
Image:Yahyâ ibn Mahmûd al-Wâsitî 007.jpg|Yahya ibn Mahmud al-Wasiti Iraq, 1237
Image:Yahyâ ibn Mahmûd al-Wâsitî 004.jpg|Yahyâ ibn Mahmûd al-Wâsitî, Iraq, 1237
Image:Syrischer Maler um 1315 001.jpg|Syrischer Maler, 1315 Metropolitan Museum of Art
Image:Iskandar (Alexander the Great) at the Talking Tree.jpg|Ilkhanid Shahnameh, ca. 1330-1340, Smithsonian
Image:Kamal-ud-din Bihzad 001.jpg|Behzād, 1494-45, British Museum
Image:Miraj_by_Sultan_Muhammad.jpg|Persian miniature painting, CE 1550
Image:Saki - Reza Abbasi - Moraqqa’-e Golshan 1609 Golestan Palace.jpg|Reza Abbasi 1609
Image:Meister des Razm-Nâma-Manuskripts 001.jpg|Razmnama, 1616, British Museum
Image:Twolovers.jpg|Two Lovers by Reza Abbasi 1630
Image:Harun Al-Rashid and the World of the Thousand and One Nights.jpg|Persian miniature [[Harun al-Rashid]] in [[Thousand and One Nights]]
Image:Georgian prince by Reza Abbasi.jpg|Reza Abbasi 1620
Image:Adam and Eve from a copy of the Falnama.jpg|Adam and Eve Safavid Iran, c. 1550 AD.
Image:Arabischer Maler um 1335 002.jpg|A painting depicting Abû Zayd, 1335 AD.
Image:Irakischer Maler um 1210 001.jpg|A scene from the book of Ahmad ibn al-Husayn ibn al-Ahnaf, showing two galloping horsemen, 1210 AD.
Image:Irakischer Maler um 1280 001.jpg|The angel Isrâfîl, Iraq, 1280 AD.
Image:Irakischer Maler von 1287 002.jpg|The Clerk Iraq, 1287.
Image:Al-Bawwâb 001.jpg|An ornamental Quran, by al-Bawwâb, 11th century AD.
Image:Sarayi_Album_10a.jpg|Mehmet II from the Sarai Albums of Istanbul Turkey, 15th century AD.
Image:Maiden fur cap Louvre OA7128.jpg|Maiden in a fur cap by Muhammad ‘Alî, Isfahan Iran, mid 17th century.
Image:Youth and suitors.jpg|Youth and Suitors Mashhad Iran, 1556-1565 AD.
The depiction of humans, animals or any another figurative subjects is forbidden within Islam to prevent believers from idolatry so there is no religiously motivated painting (or sculpture) tradition within Muslim culture. Pictorial activity was reduced to Arabesque mainly Abstract art with geometrical configuration or floral and plant-like patterns. Strongly connected to architecture and calligraphy it can be widely seen as used for the painting of tile in mosques or in illuminations around the text of the Koran and other books. In fact abstract art is not an invention of modern art but it is present in pre-classical barbarian and non-western cultures many centuries before it and is essentially a decorative or applied art Notable illustrator M. C. Escher was influenced by this geometrical and pattern based art. Art Nouveau (Aubrey Beardsley and the architect Antonio Gaudi re-introduced abstract floral patterns into western art.
Note that despite the taboo of figurative visualization, some muslim countries did cultivate a rich tradition in painting, though not in its own right, but as a companion to the written word. Iranian or Persian art, widely known as Persian miniature, concentrates on the illustration of epic or romantic works of literature. Persian illustrators deliberately avoided the use of shading and perspective, though familiar with it in their pre-islamic history, in order to abide by the rule of not creating any life-like illusion of the real world. Their aim was not to depict the world as it is, but to create images of an ideal world of timeless beauty and perfect order.
In present days, painting by art students or professional artists in arab and non-arab muslim countries follow the same tendencies of Western culture art.
Image:LAgha_Star.jpg|Lubna Agha Star- a painting inspired by the artisans of Morocco
Image:Anarkali.jpg|Abdur Rahman Chughtai Anarkali
Image:Himba_lady_preparing_deodorant.jpg|Himba woman covered with traditional red ochre pigment Traditional body paint symbolic of the earth and of blood and also worn for protection from the sun.
Image:Kikuyu_woman_traditional_dress.jpg|A Kĩkũyũ woman in traditional dress. Ceremonial Face Painting
Image:Young Maasai Warrior.jpg|Young [[Maasai]] Warrior,with head-dress and Face Painting
Image:Dogon Circumsion Cave Painting.jpg|Dogon circumcision cave,with paintings Mali c. Contemporary art
African traditional culture and tribes do not seem to have great interest in two-dimensional representations in favour of sculpture and Relief However, decorative painting in African culture is often abstract and geometrical. Another pictorial manifestation is body painting and face painting present for example in Maasai and Kĩkũyũ culture in their ceremony rituals. Ceremonial Cave painting in certain villages can be found to be still in use. Note that Pablo Picasso and other modern artists were influenced by African sculpture and Masks in their varied styles.
Contemporary African artists follow western art movements and their paintings have little difference from occidental art works.
Pre-history
Eastern painting
East Asian painting
See also [[Chinese painting]], [[Japanese painting]], [[Korean painting]].
Chinese painting
Image:Ch'iu Ying 001.jpg (1494–1552 AD)]] The earliest (surviving) examples of Chinese painted artwork date to the Warring States (481 - 221 BC), with paintings on silk or tomb murals on rock, brick, or stone. They were often in simplistic stylized format and in more-or-less rudimentary geometric patterns. They often depicted mythological creatures, domestic scenes, labor scenes, or palatial scenes filled with officials at court. Artwork during this period and the subsequent Qin Dynasty (221 - 207 BC) and Han Dynasty (202 BC - 220 AD) was made not as a means in and of itself or for higher personal expression. Rather artwork was created to symbolize and honor funerary rights, representations of mythological deities or spirits of ancestors, etc. Paintings on silk of court officials and domestic scenes could be found during the Han Dynasty, along with scenes of men hunting on horseback or partaking in military parade. There was also painting on three dimensional works of art on figurines and statues, such as the original-painted colors covering the soldier and horse statues of the Terracotta Army During the social and cultural climate of the ancient Eastern Jin Dynasty (316 - 420 AD) based at Nanjing in the south, painting became one of the official pastimes of Confucian taught bureaucratic officials and Aristocracy (class) (along with music played by the guqin zither, writing fanciful calligraphy and writing and reciting of poetry . Painting became a common form of artistic self-expression, and during this period painters at court or amongst elite social circuits were judged and ranked by their peers. Image:Chang Sheng-wen 001.jpg , by Zhang Shengwen, 1173–1176 AD, Song Dynasty period.]] The establishment of classical Chinese landscape painting is accredited largely to the Eastern Jin Dynasty artist Gu Kaizhi (344 - 406 AD), one of the most famous artists of Chinese history. Like the elongated scroll scenes of Kaizhi, Tang Dynasty (618 - 907 AD) Chinese artists like Wu Daozi painted vivid and highly detailed artwork on long horizontal handscrolls (which were very popular during the Tang), such as his Eighty Seven Celestial People Painted artwork during the Tang period pertained the effects of an idealized landscape environment, with sparse amount of objects, persons, or activity, as well as monochromatic in nature (example: the murals of Price Yides tomb in the Qianling Mausoleum). There were also figures such as early Tang-era painter Zhan Ziqian who painted superb landscape paintings that were well ahead of his day in portrayal of realism. However, landscape art did not reach greater level of maturity and realism in general until the Five Dynasties and Ten Kingdoms period (907 - 960 AD). During this time, there were exceptional landscape painters like Dong Yuan (refer to this article for an example of his artwork), and those who painted more vivid and realistic depictions of domestic scenes, like Gu Hongzhong and his Night Revels of Han Xizai Image:Loquats and Mountain Bird.jpg paintings in leaf album style such as this were popular in the Southern Song (1127–1279).]] During the Chinese Song Dynasty (960 - 1279 AD), not only landscape art was improved upon, but portrait painting became more standardized and sophisticated than before (for example, refer to Emperor Huizong of Song , and reached its classical age maturity during the Ming Dynasty (1368 - 1644 AD). During the late 13th century and first half of the 14th century, Chinese under the Mongol controlled Yuan Dynasty were not allowed to enter higher posts of government (reserved for Mongols or other ethnic groups from Central Asia), and the Imperial examination was ceased for the time being. Many Confucian-educated Chinese who now lacked profession turned to the arts of painting and theatre instead, as the Yuan period became one of the most vibrant and abundant eras for Chinese artwork. An example of such would be Qian Xuan (1235–1305 AD), who was an official of the Song Dynasty, but out of patriotism, refused to serve the Yuan court and dedicated himself to painting. Examples of superb art from this period include the rich and detailed painted murals of the Yongle Palace http://www.chinaculture.org/gb/en_artqa/2003-09/24/content_39769.htm]http://www.tcc.leidenuniv.nl/index.php3?m245&c55], or "Dachunyang Longevity Palace", of 1262 AD, a UNESCO World Heritage site. Within the palace, paintings cover an area of more than 1000 square meters, and hold mostly Daoist themes. It was during the Song Dynasty that painters would also gather in social clubs or meetings to discuss their art or others artwork, the praising of which often led to persuasions to trade and sell precious works of art. However, there were also many harsh critics of others art as well, showing the difference in style and taste amongst different painters. In 1088 AD, the polymath scientist and statesman Shen Kuo once wrote of the artwork of one Li Cheng (painter) who he criticized as follows: Image:Emperor Qianlong reading.jpg Although high level of stylization, mystical appeal, and surreal elegance were often preferred over realism (such as in shan shui style), beginning with the medieval Song Dynasty there were many Chinese painters then and afterwards who depicted scenes of nature that were vividly real. Later Ming Dynasty artists would take after this Song Dynasty emphasis for intricate detail and realism on objects in nature, especially in depictions of animals (such as ducks, swans, sparrows, tigers, etc.) amongst patches of brightly-colored flowers and thickets of brush and wood (a good example would be the anonymous Ming Dynasty painting Birds and Plum Blossomshttp://www.asia.si.edu/collections/zoomObject.cfm?ObjectId4693], housed in the Freer Gallery of the Smithsonian Museum in Washington, D.C.). There were many renowned Ming Dynasty artists; Qiu Ying is an excellent example of a paramount Ming era painter (famous even in his own day), utilizing in his artwork domestic scenes, bustling palatial scenes, and nature scenes of river valleys and steeped mountains shrouded in mist and swirling clouds. During the Ming Dynasty there were also different and rivaling schools of art associated with painting, such as the Wu School and the Zhe school (painting) Classical Chinese painting continued on into the early modern Qing Dynasty with highly realistic portrait paintings like seen in the late Ming Dynasty of the early 17th century. The portraits of Kangxi Emperor Yongzheng Emperor and Qianlong Emperor are excellent examples of realistic Chinese portrait painting. During the Qianlong reign period and the continuing 19th century, European Baroque styles of painting had noticeable influence on Chinese portrait paintings, especially with painted visual effects of lighting and shading. Likewise, East Asian paintings and other works of art (such as porcelain and lacquerware) were highly prized in Europe since initial contact in the 16th century. Image:Geiami - Viewing a Waterfall.jpeg Shingei (1431–1485), Viewing a Waterfall,http://www.nezu-muse.or.jp/syuuzou/kaiga/10169.html Nezu Museum, Tokyo].]]
Japanese painting
Japanese painting (絵画) is one of the oldest and most highly refined of the Japanese arts, encompassing a wide variety on genre and styles. As with the history of Japanese arts in general, the history Japanese painting is a long history of synthesis and competition between native Japanese aesthetics and adaptation of imported ideas. Ukiyo-e "pictures of the floating world", is a genre of Japanese woodblock printing (or woodcut ) and painting produced between the 17th and the 20th centuries, featuring motifs of landscapes, the theatre and pleasure quarters. It is the main artistic genre of woodblock printing in Japan Japanese printmaking especially from the Edo period exerted enormous influence on Western painting in France during the 19th century.South Asian painting
Indian painting
Indian paintings historically revolved around the religious deities and kings. Indian art is a collective term for several different schools of art that existed in the Indian subcontinent The paintings varied from large frescoes of Ellora to the intricate Mughal painting miniature paintings to the metal embellished works from the Tanjore school. The paintings from the Gandhar(city/kingdom) Taxila are influenced by the Persian art works in the west. The eastern style of painting was mostly developed around the Nalanda school of art. The works are mostly inspired by various scenes from Hindu mythologyHistory
The earliest Indian paintings were the rock paintings of prehistory times, the petroglyph as found in places like the Rock Shelters of Bhimbetka and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ajanta Maharashtra States and territories of India present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals.Image:Bhimbetka rock paintng1.jpg Ajanta Caves in Maharashtra India are Rock cut architecture cave monuments dating back to the second century BCE and containing paintings and sculpture considered to be masterpieces of both Buddhist religious artUNESCO World Heritage Site. http://whc.unesco.org/en/list/242 Ajanta Caves, India: Brief Description. Retrieved 27 October 2006. and universal pictorial art.UNESCO International Council on Monuments and Sites. 1982. http://whc.unesco.org/archive/advisory_body_evaluation/242.pdf Ajanta Caves: Advisory Body Evaluation. Retrieved 27 October 2006. Image:Aurangabad - Ajanta Caves (13).JPG ] ;Madhubani painting Madhubani painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India. The origins of Madhubani painting are shrouded in antiquity. Image:Durga Mahisasuramardini.JPG A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features.]]
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Rajput painting
[[Rajput painting]], a style of [[Indian painting]], evolved and flourished, during the 18th century, in the royal courts of [[Rajputana]], India. Each Rajput kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna's life, beautiful landscapes, and humans. Miniatures were the preferred medium of Rajput painting, but several manuscripts also contain Rajput paintings, and paintings were even done on the walls of palaces, inner chambers of the forts, havelies, particularly, the havelis of Shekhawait. The colors extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones, gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking weeks. Brushes used were very fine.
Mughal painting[[Mughal painting]] is a particular style of [[Indian painting]], generally confined to illustrations on the book and done in miniatures, and which emerged, developed and took shape during the period of the [[Mughal Empire]] 16th -19th centuries).
Tanjore painting
Tanjore painting is an important form of classical South India painting native to the town of Tanjore in Tamil Nadu The art form dates back to the early 9th century, a period dominated by the Chola dynasty rulers, who encouraged art and literature These paintings are known for their elegance, rich colors, and attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and scenes from Hindu mythology In modern times, these paintings have become a much sought after souvenir during festive occasions in South India. The process of making a Tanjore painting involves many stages. The first stage involves the making of the preliminary sketch of the image on the base. The base consists of a cloth pasted over a wooden base. Then chalk powder or zinc oxide is mixed with water-soluble adhesive and applied on the base. To make the base smoother, a mild abrasive is sometimes used. After the drawing is made, decoration of the jewellery and the apparels in the image is done with semi-precious stones. Laces or threads are also used to decorate the jewellery. On top of this, the gold foils are pasted. Finally, dyes are used to add colors to the figures in the paintings.The Madras School
During British rule in India, the crown found that Madras had some of the most talented and intellectual artistic minds in the world. As the British had also established a huge settlement in and around Madras, Georgetown was chosen to establish an institute that would cater to the artistic expectations of the royals in London. This has come to be known as the [[Madras School]]. At first traditional artists were employed to produce exquisite varieties of furniture, metal work, and curios and their work was sent to the royal palaces of the Queen. Unlike the Bengal School where 'copying' is the norm of teaching, the Madras School flourishes on 'creating' new styles, arguments and trends.
The Bengal School[[Image:Bharat Mata Abanindranath.jpg|thumb|200px|[[Abanindranath Tagore]], ''[[Bharat Mata]]'']] The '''Bengal School of Art''' was an influential style of art that flourished in [[British India|India]] during the [[British Raj]] in the early 20th century. It was associated with Indian [[nationalism]], but was also promoted and supported by many British arts administrators. 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. Following the widespread influence of Indian spiritual ideas in the [[Western world|West]], the British art teacher [[Ernest Binfield Havel]] attempted to reform the teaching methods at the [[Calcutta School of Art]] by encouraging students to imitate [[Mughal painting|Mughal]] miniatures. This caused immense controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havel was supported by the artist [[Abanindranath Tagore]], a nephew of the poet [[Rabindranath Tagore]]. Tagore painted a number of works influenced by Mughal art, a style that he and Havel believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. Tagore's best-known painting, ''Bharat Mata'' (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations. Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a [[pan-Asianist]] model of art. The Bengal School's influence in India declined with the spread of [[modernist]] ideas in the 1920s. In the post-independence period, [[Indian artists]] showed more adaptability as they borrowed freely from european styles and amalgamated them freely with the Indian motifs to new forms of art. While artists like [[Francis Newton Souza]] and [[Tyeb Mehta]] were more western in their approach, there were others like [[Ganesh Pyne]] and [[Maqbool Fida Husain]] who developed thoroughly indigenous styles of work. Today after the process of liberalization of market in India, the artists are experiencing more exposure to the international art-scene which is helping them in emerging with newer forms of art which were hitherto not seen in India. [[Jitish Kallat]] had shot to fame in the late 90s with his paintings which were both modern and beyond the scope of generic definition. However while artists in India in the new century are trying out new styles, themes and metaphors, it would not have been possible to get such quick recognition without the aid of the business houses which are now entering the art field like they had never before.
Modern Indian painting
Western painting
Egypt, Greece and Rome
Ancient Egypt a civilization with very strong traditions of architecture and sculpture (both originally painted in bright colours) also had many mural paintings in temples and buildings, and painted illustrations on papyrus manuscript . Egyptian wall painting and decorative painting is often graphic, sometimes more symbolic than realistic. Egyptian painting depicts figures in bold outline and flat silhouette in which symmetry is a constant characteristic. Art of Ancient Egypt has close connection with its written language - called Egyptian hieroglyphs Painted symbols are found amongst the first forms of written language. The Egyptians also painted on linen remnants of which survive today. Ancient Egyptian paintings survived due to the extremely dry climate. The ancient Egyptians created paintings to make the afterlife of the deceased a pleasant place. The themes included journey through the afterworld or their protective deities introducing the deceased to the gods of the underworld. Some examples of such paintings are paintings of the gods and goddesses Ra Horus Anubis Nut (goddess) Osiris and Isis Some tomb paintings show activities that the deceased were involved in when they were alive and wished to carry on doing for eternity. In the New Kingdom and later, the Book of the Dead was buried with the entombed person. It was considered important for an introduction to the afterlife.Middle Ages
Renaissance and Mannerism
Baroque and Rococo
19th century: Neo-classicism, History painting, Romanticism, Impressionism, Post Impressionism, Symbolism
20th century Modern and Contemporary
The heritage of painters like Van Gogh Cézanne Gauguin and Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism Pablo Picasso made his first Cubism paintings based on Cézannes idea that all depiction of nature can be reduced to three solids: cube sphere and cone (geometry)Pioneers of the 20th century
Pioneers of Modern art
Pioneers of abstraction
Dada and Surrealism
Between the Wars
Social Consciousness
World conflict
Towards Mid Century
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Abstract Expressionism
Pop Art
Figurative, Landscape, Still-Life, and Realism
Art Brut, New Realism, Bay Area Figurative Movement, Neo-Dada, Photorealism
New abstraction from the 1950s through the 1980s
Washington Color School, Shaped Canvas, Abstract Illusionism, Lyrical Abstraction
Hard-edge painting, Minimalism, Postminimalism, Monochrome painting
Neo Expressionism
Contemporary painting into the 21st Century
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Painting in the Americas
During the period before and after European exploration and settlement of the Americas, including North America, Central America South America and the Islands of the Caribbean, the Antilles the Lesser Antilles and other island groups, indigenous native cultures produced creative works including architecture pottery Ceramic art weaving Wikt:carving sculpture painting and murals as well as other religious and utilitarian objects. Each continent of the Americas hosted societies that were unique and individually developed cultures; that produced totems, works of religious symbolism, and decorative and expressive painted works. African influence was especially strong in the art of the Caribbean and South America. The arts of the indigenous people of the Americas had an enormous impact and influence on European art and vice-versa during and after the Age of Exploration Spain, Portugal, France, The Netherlands, and England were all powerful and influential colonial power in the Americas during and after the 15th century. By the 19th century cultural influence began to flow both ways across the AtlanticMexico and Central America
South America
North America
United States
Canada
Caribbean
Islamic painting
Iran
Oriental historian Basil Gray believes "Iran has offered a particularly unique sic] art to the world which is excellent in its kind". Caves in Irans Lorestan province exhibit painted imagery of animals and hunting scenes. Some such as those in Fars Province and Sialk are at least 5,000 years old. Painting in Iran is thought to have reached a climax during the Tamerlane era when outstanding masters such as Kamaleddin Behzad gave birth to a new style of painting. Paintings of the Qajar period, are a combination of European influences and Safavid miniature schools of painting such as those introduced by Reza Abbasi. Masters such as Kamal-ol-molk, further pushed forward the European influence in Iran. It was during the Qajar era when "Coffee House painting" emerged. Subjects of this style were often religious in nature depicting scenes from Shia epics and the like.Pakistan
Australia
Africa
Influence on Western art
At the start of the 20th century, artists like Pablo Picasso Henri Matisse Vincent van Gogh Paul Gauguin and Amedeo Modigliani became aware of, and were inspired by, African art. In a situation where the established avant garde was straining against the constraints imposed by serving the world of appearances, African Art demonstrated the power of supremely well organised forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination emotion and mystical and religious experience These artists saw in African Art a Formalism (art) perfection and sophistication unified with phenomenal expressive power.See also
*20th century Western painting *Art periods *Eastern art history *Hierarchy of genres *History of art *History painting *Outline of painting history *List of painters *Lives of the Most Excellent Painters, Sculptors, and Architects *Painting *Self portrait *Western art history *Western painting *Painting in the Americas before Colonization *Plains hide painting *Native American art *Template:Timeline of Italian painters to 1800References
Further reading
*Clement Greenberg Art and Culture,Beacon Press, 1961 *[[Lyrical Abstraction]] Exhibition Catalogue, Whitney Museum of American Art NYC, 1971. *OConnor, Francis V. [[Jackson Pollock]]Exhibition Catalogue, (New York, Museum of Modern Art 1967]) OCLC 165852 *Pictures of Nothing: Abstract Art since Pollock(A.W. Mellon Lectures in the Fine Arts), Kirk Varnedoe 2003 *The Triumph of [[Modernism]] The Art World, 1985–2005, Hilton Kramer 2006, ISBN 0 1-56663-708 *David Piper, The Illustrated Library of Art, Portland House, New York, 1986, ISBN 0-517-62336-6External links
*http://www.all-art.org History of Art: From Paleolithic Age to Contemporary Art] *http://www.beyondbooks.com/art11/index.asp History of Painting] *Kandinsky http://www.mnstate.edu/gracyk/courses/phil%20of%20art/kandinskytext.htm] Concerning the Spiritual in Art, accessed online 28 May 2007 *http://www.metmuseum.org/toah/splash.htM Metropolitan Museum of Art Timeline of Art History] *http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html Ancient Roman Wall-Painting] Category:Art history by medium Category:Painting Category:Art history Category:Prehistoric art Category:Western art Category:Medieval art Category:Gothic art Category:Celtic art Category:Byzantine art Category:Byzantine mosaic Category:Illuminated manuscripts Category:Renaissance art Category:Renaissance paintings Category:Mannerism Category:Mannerist paintings Category:Baroque painting Category:Rococo art Category:Impressionism Category:Post-Impressionism Category:Luminism Category:Romantic art Category:Modern art Category:Modernism Category:Art movements Category:Cubism Category:Surrealism Category:Dada Category:Abstract expressionism Category:Pop art ast:Historia de la pintura ca:Història de la pintura es:Historia de la pintura fa:پیشینه نقاشی fr:Histoire de la peinture gl:Historia da pintura it:Storia della pittura pl:Historia malarstwa pt:História da pintura ro:Istoria picturii sk:Dejiny výtvarného umenia ta:ஓவியத்தின் வரலாறு th:ประวัติศาสตร์ของจิตรกรรม
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