Painting is a visual art, characterized by the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush. Other implements, such as palette knives, sponges, airbrushes, the artist's fingers, or even a dripping technique that uses gravity may be used. One who produces paintings is called a painter.
In art, the term "painting" describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete; the painting may incorporate other materials, in single or multiple form, including sand, clay, paper, cardboard, newspaper, plaster, gold leaf, and even entire objects.
Signwriters painting a KB Lager advertisement on the side of a building in Australia A signwriter designs, manufactures and installs signs, including advertising signs for shops, businesses and public facilities as well as signs for transport systems. (Full article...)
Early paint robots were hydraulic versions, which are still in use today but are of inferior quality and safety to the latest electronic offerings. The newest robots are accurate and deliver results with uniform film builds and exact thicknesses. (Full article...)
Strongly influenced by German Expressionism and by the immigrant, and often Jewish, experience, the movement originated in Boston, Massachusetts, in the 1930s, continues in a third-wave form today, and flourished most markedly from the 1950s until the 1970s. (Full article...)
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), private collection Abstract art uses visual language of shape, form, color, and line to create a composition which may exist with a degree of independence from visual references in the world. Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings. ( https://en.wikipedia.org/wiki/Abstract_art ) Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the end of the 19th century, many artists felt a need to create a new kind of art that would encompass the fundamental changes taking place in technology, science, and philosophy. The sources from which individual artists drew their theoretical arguments were diverse and reflected the social and intellectual preoccupations in all areas of Western culture at that time.
Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Artwork which takes liberties, e.g. altering color or form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contain partial abstraction. (Full article...)
Paintings conservation laboratory, Heritage Conservation Centre, Singapore
The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports (i.e. the painted surface made from fabric, paper, wood panel, fabricated board, or other). Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care (also known as preventive conservation) will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind. (Full article...)
David (1504) "And what barbarous judge is there that cannot understand that the foot of a man is more noble than his shoe? His skin than that of the sheep from which his clothes are made?" — Michelangelo
The nude, as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. It was a preoccupation of Ancient Greek art, and after a semi-dormant period in the Middle Ages returned to a central position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts. From prehistory to the earliest civilizations, nude female figures were generally understood to be symbols of fertility or well-being.
In India, the Khajuraho Group of Monuments built between 950 and 1050 CE are known for their nude sculptures, which comprise about 10% of the temple decorations, a minority of them being erotic. Japanese prints are one of the few non-western traditions that can be called nudes, but the activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West. Through each era, the nude has reflected changes in cultural attitudes regarding sexuality, gender roles, and social structure. (Full article...)
Oil painting reproductions are distinct from original oil painting such as are often of interest to collectors and museums. Oil painting reproduction can, however, sometimes be regarded as artworks in themselves. (Full article...)
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Sign painters create a new sign on the walls of the Hotel Figueroa in Los Angeles, California Sign painting is the craft of painting letteredsigns on buildings, billboards or signboards, for promoting, announcing, or identifying products, services and events. Sign painting artisans are signwriters, although in North America they are usually referred to as sign painters. (Full article...)
Portrait painting is a genre in painting, where the intent is to represent a specific human subject. The term 'portrait painting' can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, or they may be inspired by admiration or affection for the subject. Portraits often serve as important state and family records, as well as remembrances.
Historically, portrait paintings have primarily memorialized the rich and powerful. Over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are still commissioned by governments, corporations, groups, clubs, and individuals. In addition to painting, portraits can also be made in other media such as prints (including etching and lithography), photography, video and digital art. (Full article...)
Emil Maurer writes of the painter and theorist Gian Paolo Lomazzo (1538–1600): "The recommended ideal form unites, after Lomazzo, three qualities: the pyramid, the serpentinata movement and a certain numerical proportion, all three united to form one whole. At the same time, precedence is given to the "moto", that is, to the meandering movement, which should make the pyramid, in exact proportion, into the geometrical form of a cone." (Full article...)
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Ancient Rome
In art, a pendant is one of two paintings, statues, reliefs or other type of works of art intended as a pair. Typically, pendants are related thematically to each other and are displayed in close proximity. For example, pairs of portraits of married couples are very common, as are symmetrically arranged statues flanking an altar.
Diptych differs from a pendant in that two images, reliefs, etc., are connected by hinges or similar means and cannot be separated. (Full article...)
The conventional and most common support—material to which the paint is applied—for watercolor paintings is paper, usually special types of watercolor paper. Other supports or substrates include stone, ivory, silk, reed, papyrus, bark papers, plastics, vellum, leather, fabric, wood, and watercolor canvas (coated with a gesso that is specially formulated for use with watercolors). Watercolor paper is often made entirely or partially with cotton. This gives the surface the appropriate texture and minimizes distortion when wet. Watercolor papers are usually cold-pressed papers that provide better texture and appearance. Another variation is hot-pressed watercolor paper, which has a smoother texture and appearance than cold-pressed paper. Transparency is the main characteristic of watercolors. It is caused by the gum binder being absorbed by the paper, leaving a top layer of dispersed pigment particles, through which the paper shimmers. "It consists of a mixture of pigments, binders such as gum arabic and humectants such as glycerin, which together with other components, allow the color pigment to join and form the paint paste, which we know as watercolor. With regard to the colors, the quality of the pigments and their degree of concentration, it is what determines how good the watercolor is and also its price. A paint that has a high concentration of pigment, professional type, allows us to use it with a large amount of water without losing the intensity of color." Watercolors can also be made opaque by adding Chinese white. In the 19th century this could be controversial, and not regarded as "true watercolor" in the English tradition, but by about 1880 this dispute was over. (Full article...)
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A binder or binding agent is any material or substance that holds or draws other materials together to form a cohesive whole mechanically, chemically, by adhesion or cohesion.
More narrowly, binders are liquid or dough-like substances that harden by a chemical or physical process and bind fibres, filler powder and other particles added into it. Examples include glue, adhesive and thickening. (Full article...)
Initially serving imperial, private, civic, and religious patronage, Western painting later found audiences in the aristocracy and the middle class. From the Middle Ages through the Renaissance painters worked for the church and a wealthy aristocracy. Beginning with the Baroque era artists received private commissions from a more educated and prosperous middle class. The idea of "art for art's sake" began to find expression in the work of the Romantic painters like Francisco de Goya, John Constable, and J. M. W. Turner. During the 19th century commercial galleries became established and continued to provide patronage in the 20th century. (Full article...)
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A coloring book (British English: colouring-in book, colouring book, or colouring page) is a type of book containing line art to which a person (usually a child) is intended to add color using crayons, colored pencils, marker pens, paint or other artistic media. Traditional coloring books and coloring pages are printed on paper or card. Some coloring books have perforated edges so their pages can be removed from the books and used as individual sheets. Others may include a story line and so are intended to be left intact. Today, many children's coloring books feature popular characters. They are often used as promotional materials for motion pictures and television. Coloring books may also incorporate other activities such as connect the dots, mazes and other puzzles. Some also incorporate the use of stickers. (Full article...)
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A range-finder painting, sometimes called range-finding painting, is a large landscape painting produced as a training device to help gunners improve their accuracy. Historically, the best-documented use of such paintings was in the United States during World War I. (Full article...)
Inscape, in visual art, is a term especially associated with certain works of Chilean artist Roberto Matta, but it is also used in other senses within the visual arts. Though the term inscape has been applied to stylistically diverse artworks, it usually conveys some notion of representing the artist's psyche as a kind of interior landscape. The word inscape can therefore be read as a kind of portmanteau, combining interior (or inward) with landscape. (Full article...)
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Lady Writing a Letter with her Maid by Jan Vermeer 1670/71) Genre painting (or petit genre) is the painting of genre art, which depicts aspects of everyday life by portraying ordinary people engaged in common activities. One common definition of a genre scene is that it shows figures to whom no identity can be attached either individually or collectively, thus distinguishing it from history paintings (also called grand genre) and portraits. A work would often be considered as a genre work even if it could be shown that the artist had used a known person—a member of his family, say—as a model. In this case it would depend on whether the work was likely to have been intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist. Because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class.
Installation view of Irrational Geometrics 2008 by Pascal Dombis Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.
Unione is similar to sfumato, but is more useful for the edges of chiaroscuro, where vibrant colors are involved. As with chiaroscuro, unione conveys the contrasts, and as sfumato it strives for harmony and unity, but also for coloristic richness. Unione is softer than chiaroscuro in the search for the right tonal key. There should be the harmony between light and dark, without the excesses and accentuation of a chiaroscuro mode. (Full article...)
The name "stereochromy" was first used in about 1825 by Johann Nepomuk von Fuchs and Schlotthaurer. In the original technique, pigments were applied to plaster or stone and sealed with water glass to preserve and enhance the colors. The method was then improved in the 1880s by Adolf Wilhelm Keim and renamed mineral painting or Keim's process. (Full article...)
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Michelangelo, Manchester Madonna, National Gallery, London Verdaccio is a monochromatic green underpainting technique often used to render flesh in art. The paint is composed of green pigment (such as green earth, viridian or chromium oxide) and white lead, with other pigments used to darken or adjust the tone. In the Manchester Madonna, the unfinished figures to the left show the verdaccio layer. The term derives from the Italian verde, meaning green. During the Italian Renaissance, verdaccio became an integral part of fresco painting. The layer defined tonal values that would form a complete monochromatic underpainting. Often, architectural details in frescoes are left in verdaccio without any additional color layers. A notable example is the ceiling of the Sistine Chapel, where the verdaccio layer is left visible on architectural details in the composition. Verdaccio was also employed in tempera works; since tempera is opaque and dries quickly, the verdaccio underpainting would render the values of the image while fine lines of pink and ochre would establish flesh tones. (Full article...)
Example of spray fireproofing, using a gypsum based plaster in a low-rise industrial building in Vancouver, British Columbia. Intonaco is an Italian term for the final, very thin layer of plaster on which a fresco is painted. The plaster is painted while still wet, in order to allow the pigment to penetrate into the intonaco itself. An earlier layer, called arriccio, is laid slightly coarsely to provide a key for the intonaco, and must be allowed to dry, usually for some days, before the final very thin layer is applied and painted on. In Italian the term intonaco is also used much more generally for normal plaster or mortar wall-coatings in buildings.
Intonaco is traditionally a mixture of sand (with granular dimensions less than two millimeters) and a binding substance. (Full article...)
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A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is not present at the filming location. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage (compositing). At its best, depending on the skill levels of the artists and technicians, the effect is seamless and creates environments that would otherwise be impossible or expensive to film. In the scenes, the painting part is static while movements are integrated on it. (Full article...)
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Overpainting is the final layers of paint, over some type of underpainting, in a system of working in layers. It can also refer to later paint added by restorers, or an artist or dealer wishing to "improve" or update an old image—a very common practice in the past. The underpainting gives a context in which the paint-strokes of the overpainting become more resonant and powerful. When properly done, overpainting does not need to completely obscure the underpainting. It is precisely the interaction of the two that gives the most interesting effects.
Overpainting was used extensively in many schools of art. Some of the most spectacular results can be seen in the work of Jan van Eyck. (Full article...)
Fresco (pl.frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster. Even in apparently buon fresco technology, the use of supplementary organic materials was widespread, if underrecognized. (Full article...)
An example of drip painting techniques used to create a portrait.Drip painting is a form of art, often abstract art, in which paint is dripped or poured on to the canvas. This style of action painting was experimented with in the first half of the twentieth century by such artists as Francis Picabia, André Masson and Max Ernst, who employed drip painting in his works The Bewildered Planet, and Young Man Intrigued by the Flight of a Non-Euclidean Fly (1942). Ernst used the novel means of painting Lissajous figures by swinging a punctured bucket of paint over a horizontal canvas. Drip painting found particular expression in the work of the mid-twentieth-century artists Janet Sobel—who pioneered the technique—and Jackson Pollock. Pollock found drip painting to his liking, later using the technique almost exclusively. He used unconventional tools like sticks, hardened brushes and even basting syringes to create large and energetic abstract works. Pollock used house or industrial paint to create his paintings—Pollock's wife Lee Krasner described his palette as "typically a can or two of … enamel, thinned to the point he wanted it, standing on the floor besides the rolled-out canvas" and that Pollock used Duco or Davoe and Reynolds brands of house paint. House paint was less viscous than traditional tubes of oil paint, and Pollock thus created his large compositions horizontally to prevent his paint from running. His gestural lines create a unified overall pattern that allows the eye to travel from one of the canvases to the other and back again. (Full article...)
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In art, prestezza is a painting technique that utilizes rapid brushstrokes to make impressions of faces and objects as opposed to painting them out in detail. The technique allows for faster painting and makes the undercoat an integral part of the painting itself. (Full article...)
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Freehand brush work is a genre of Chinese traditional painting which includes poem, calligraphy, painting and seal. In Chinese called Hsieh yi (traditional Chinese: 寫意; simplified Chinese: 写意; pinyin: Xiěyì), which literally means "writing ideas". It was formed in a long period of artistic activities and promoted by the literati. Through the inheritance and development in the past dynasties, freehand brush work has gradually become the most influential and popular genre.
The freehand brush work emphasizes the semblance in the spiritual aspect. This kind of artwork does not chase for the physical similarity and the cooperation of reality. And it might be the essence of freehand brush work that it mostly grasps the most obvious or essential spiritual characteristics. The first rule of freehand brush work is the use of connotation which is a kind of spiritual meaning. It focuses on the personality and the cooperation of every element in the painting. (Full article...)
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An example of the drybrush technique using black acrylic paint on illustration board
Drybrush is a painting technique in which a paint brush that is relatively dry, but still holds paint, is used to create a drawing or painting. Load is applied to a dry support such as paper or primedcanvas. The resulting brush-strokes have a characteristic scratchy and textured look that lacks the smooth appearance that washes or blended paint commonly have. This technique can be used to achieve a blurred or soft appearance.
The technique of drybrush painting can be achieved with both water-based and oil-based media. With water-based media such as inks, acrylic paints, tempera-paints, or watercolor-paints, the brush is usually dry or squeezed dry of all water. The brush is loaded with paint that is highly viscous or thick and then applied to a dry support. With other water-based media, the brush is loaded with paint and then squeezed dry. When using oil-based media, such as oil-paint, similar techniques are used, although instead of water, the brush is used dry or any oil or solvent is removed. Because oil-paint has a longer drying-time than water-based media, brushing over or blending drybrush strokes is often avoided to preserve the distinctive look of the drybrush-painting-technique. (Full article...)
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Crevole Madonna by Duccio, tempera with gold ground on wood, 1284, Siena Tempera (Italian:[ˈtɛmpera]) is a permanent, fast-drying painting medium consisting of pigments mixed with a water-soluble binder medium, usually glutinous material such as egg yolk. There are several types of tempera paint, but the type containing egg yolk is called egg tempera. Tempera paint made from milk protein is called casein paint. If the binder is synthetic PVA, the result is polyvinyl acetate tempera. A distemper paint consisting of pigment and binders such as cornstarch, gum arabic and other gums is called poster paint in certain parts of the world, and it is also often confusingly referred to as "tempera paint", although the binders in this paint are different from traditional egg tempera paints and the visual effect is more like gouache.
The term tempera also refers to the paintings done in any of these tempera mediums. (Full article...)
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Jerusalem Delivered, a Heroic Poem, translated from the Italian of Torquato Tasso, by John Hoole. London 1797; with fore-edge painting: Trajan's Arch, (Ancona), Tasso in Prison, and the Bridge of Sighs A fore-edge painting is an image painted on the unbound edges of a book visible when the pages of the book are fanned. It also can refer to an image that is visible on the closed edge of a book. References also refer to the paintings as disappearing or secret images, and they are often hidden beneath gilded edges.
Historically, fore-edge painting has had three purposes: identification, indication of ownership, or artistry. Possibly originating in the 10th century, the earliest known examples feature titles written on the closed edges of a book, symbolic imagery, or heraldic designs. The exact origins are debated among scholars. The technique of the hidden painting gained notable popularity in England during the 17th and 18th centuries. A fore-edge painting does not need to be painted on a book at the time of the book's creation. Unless a fore-edge artist was working with a bookseller or bookbinder, fore-edge paintings are applied sometime after the book has been published making the dating of the works difficult to ascertain unless the work is signed and dated. (Full article...)
True fresco is the technique of painting on fresh lime plaster whereby the pigments are fixed by the carbonatation of the lime (calcium hydroxide). The technique requires no other binding medium and the fixing process produces a durable crystalline paint layer. However, only a limited range of pigments are suitable for true frescoes and the technique requires careful application under controlled conditions, and relatively low humidity thereafter. In some environments, conventional fresco colours can rapidly accumulate dirt and grime. The decoration of the new Houses of Parliament in the mid-nineteenth century saw an embarrassing failure of true fresco in England but had generated a revival in mural painting. (Full article...)
In painting, imprimatura is an initial stain of color painted on a ground. It provides a painter with a transparent, toned ground, which will allow light falling onto the painting to reflect through the paint layers. The term comes from Italian and literally means 'first paint layer'. Its use as an underpainting layer can be dated back to the guilds and workshops during the Middle Ages; however, it came into standard use by painters during the Renaissance, particularly in Italy.
The imprimatura not only provides an overall tonal optical unity in a painting but is also useful in the initial stages of the work because it helps the painter establish value relations from dark to light. It is most useful in the classical approach of indirect painting, in which the drawing and underpainting are established ahead of time and allowed to dry. The successive layers of color are then applied in transparent glaze or semi-transparent layers. (Full article...)
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Giornata is an art term, originating from an Italian word which means "a day's work." The term is used in Buon frescomural painting and describes how much painting can be done in a single day of work. This amount is based on the artist's past experience of how much they can paint in the many hours available while the plaster remains wet and the pigment is able to adhere to the wall. (Full article...)
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An abandoned roof felt factory in Santalahti, Finland which has been painted with graffiti, including work by 1UP (top left), 2012
Modern graffiti is a controversial subject. In most countries, marking or painting property without permission is considered vandalism. Modern graffiti began in the New York City subway system and Philadelphia in the early 1970s and later spread to the rest of the United States and throughout the world. (Full article...)
The name is from the Chinese gong jin meaning 'tidy' (meticulous brush craftsmanship). The gongbi technique uses highly detailed brushstrokes that delimits details very precisely and without independent or expressive variation. It is often highly colored and usually depicts figural or narrative subjects. (Full article...)
The conventional and most common support—material to which the paint is applied—for watercolor paintings is paper, usually special types of watercolor paper. Other supports or substrates include stone, ivory, silk, reed, papyrus, bark papers, plastics, vellum, leather, fabric, wood, and watercolor canvas (coated with a gesso that is specially formulated for use with watercolors). Watercolor paper is often made entirely or partially with cotton. This gives the surface the appropriate texture and minimizes distortion when wet. Watercolor papers are usually cold-pressed papers that provide better texture and appearance. Another variation is hot-pressed watercolor paper, which has a smoother texture and appearance than cold-pressed paper. Transparency is the main characteristic of watercolors. It is caused by the gum binder being absorbed by the paper, leaving a top layer of dispersed pigment particles, through which the paper shimmers. "It consists of a mixture of pigments, binders such as gum arabic and humectants such as glycerin, which together with other components, allow the color pigment to join and form the paint paste, which we know as watercolor. With regard to the colors, the quality of the pigments and their degree of concentration, it is what determines how good the watercolor is and also its price. A paint that has a high concentration of pigment, professional type, allows us to use it with a large amount of water without losing the intensity of color." Watercolors can also be made opaque by adding Chinese white. In the 19th century this could be controversial, and not regarded as "true watercolor" in the English tradition, but by about 1880 this dispute was over. (Full article...)
Image 2Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650 (from History of painting)
Image 7In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world's oldest known example of figurative or representational art. (from Painting)
Image 8Khan Bahadur Khan with Men of his Clan, c. 1815, from the Fraser Album, Company Style (from Painting)
Image 9Spring Morning in the Han Palace, by Ming-era artist Qiu Ying (1494–1552 AD) (from History of painting)
Image 11The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte. (from History of painting)
Image 29Female painter sitting on a campstool and painting a statue of Dionysus or Priapus onto a panel which is held by a boy. Fresco from Pompeii, 1st century (from Painting)
Image 32The depiction of a bull found in the Lubang Jeriji Saleh, Indonesia, in 2018, is the world's oldest known figurative painting. The painting is estimated to have been created around 40,000 to 52,000 years ago, or even earlier. (from Painting)
Image 37Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915 (from History of painting)
Image 62Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279). (from History of painting)
Image 77Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features. (from History of painting)
Image 84In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world's oldest known example of figurative or representational art. (from History of painting)
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Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650 (from History of painting)
Cueva de las Manos (Spanish for Cave of the Hands) in the Santa Cruz province in Argentina, c. 7300 BC (from History of painting)
Piet Mondrian, Composition en rouge, jaune, bleu et noir (1921), Gemeentemuseum Den Haag (from Painting)
In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world's oldest known example of figurative or representational art. (from Painting)
Khan Bahadur Khan with Men of his Clan, c. 1815, from the Fraser Album, Company Style (from Painting)
Spring Morning in the Han Palace, by Ming-era artist Qiu Ying (1494–1552 AD) (from History of painting)
The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte. (from History of painting)
Reza Abbasi, Two Lovers (1630) (from Painting)
Otto Marseus van Schrieck, A Forest Floor Still-Life (1666) (from Painting)
Diego Rivera, Recreation of Man at the Crossroads (renamed Man, Controller of the Universe), originally created in 1934, Mexican muralism movement (from History of painting)
Spanish cave painting of Bulls (from History of painting)
Gwion Gwion rock paintings found in the north-west Kimberley region of Western Australia c. 15,000 BC (from History of painting)
Pictographs from the Great Gallery, Canyonlands National Park, Horseshoe Canyon, Utah, c. 1500 BCE (from History of painting)
The Three Graces (1636–1638). Museo del Prado, Madrid (from Painting)
A fresco from Cave 1 of Ajanta. (from History of painting)
Bharat Mata by Abanindranath Tagore (1871–1951), a nephew of the poet Rabindranath Tagore, and a pioneer of the movement (from History of painting)
The depiction of a bull found in the Lubang Jeriji Saleh, Indonesia, in 2018, is the world's oldest known figurative painting. The painting is estimated to have been created around 40,000 to 52,000 years ago, or even earlier. (from Painting)
Nino Pisano, Apelles or the Art of painting in detail (1334–1336); relief of the Giotto's Bell Tower in Florence, Italy
An Ethiopian illuminated Evangelist portrait of Mark the Evangelist, from the Ethiopian Garima Gospels, 6th century AD, Kingdom of Aksum (from History of painting)
Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915 (from History of painting)
Lascaux, Bulls and Horses (from History of painting)
Ray Burggraf, Jungle Arc (1998), acrylic paint on wood (from Painting)
Lascaux, Horse (from History of painting)
Muromachi period, Shingei (1431–1485), Viewing a Waterfall, Nezu Museum, Tokyo. (from History of painting)
Sesshū Tōyō, Landscapes of the Four Seasons (1486), ink and light color on paper (from Painting)
The Sakyamuni Buddha, by Zhang Shengwen, 1173–1176 AD, Song dynasty period. (from History of painting)
Rudolf Reschreiter, Blick von der Höllentalangerhütte zum Höllentalgletscher und den Riffelwandspitzen, Gouache (1921) (from Painting)
Francisco de Zurbarán, Still Life with Pottery Jars (Spanish: Bodegón de recipientes) (1636), oil on canvas, 46 x 84 cm, Museo del Prado, Madrid (from Painting)
Krishna and Radha, might be the work of Nihâl Chand, master of Kishangarh school of Rajput Painting (from Painting)
Honoré Daumier, The Painter (1808–1879), oil on panel with visible brushstrokes (from Painting)
Rembrandt van Rijn, The Jewish Bride, ca. 1665–1669 (from History of painting)
A fresco showing Hades and Persephone riding in a chariot, from the tomb of Queen Eurydice I of Macedon at Vergina, Greece, 4th century BC (from History of painting)
Jean Metzinger, La danse (Bacchante) (c. 1906), oil on canvas, 73 x 54 cm, Kröller-Müller Museum (from Painting)
Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279). (from History of painting)
Maurice Quentin de La Tour, Portrait of Louis XV of France (1748), pastel (from Painting)
Joan Miró, Horse, Pipe and Red Flower, 1920, abstract Surrealism, Philadelphia Museum of Art (from History of painting)
Book of Hours (from History of painting)
Wayang beber, 17th century (from History of painting)
Young Mother Sewing, Mary Cassatt (from History of painting)
19th Century Mysore Painting of Goddess Saraswathi (from Painting)
White Angel (fresco, c. 1235), Mileševa monastery, Serbia (from Painting)
A Chinese painted jar from the Western Han Era (202 BCE – 9 CE) (from History of painting)
Jean de Court (attributed), painted Limoges enamel dish in detail (mid-16th century), Waddesdon Bequest, British Museum (from Painting)
Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features. (from History of painting)
Max Beckmann, The Night (Die Nacht), 1918–1919, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (from History of painting)
Mona Lisa (1503–1517) by Leonardo da Vinci is one of the world's most recognizable paintings. (from Painting)
Silk painting depicting a man riding a dragon, painting on silk, dated to 5th–3rd century BC, Warring States period, from Zidanku Tomb no. 1 in Changsha, Hunan Province (from History of painting)
Hand stencils in the "Tree of Life" cave painting in Gua Tewet, Kalimantan, Indonesia (from History of painting)
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