History of painting
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[[Image:Lascaux-aurochs.jpg|thumb|right|300px|''Cave painting of aurochs,'' (Bos primigenius primigenius), [[Lascaux]], [[France]], [[prehistoric art]]]]
{{Art history}}
The '''history of [[painting]]''' reaches back in time to artifacts from pre-historic humans, and spans all cultures. The history of painting 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.<ref>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?tab=25&pid=403665] accessed October 27, 2007</ref> Until the early 20th century it relied primarily on [[Representational art|representational]], [[Religious art|Religious]] and [[Classical]] motifs, after which time more purely [[Abstract art|abstract]] and [[Conceptual art|conceptual]] approaches gained favor.
Developments in Eastern painting historically parallel those in [[Western painting]], in general a few centuries earlier.<ref>''The Meeting of Eastern and Western Art'', Revised and Expanded edition (Hardcover)by Michael Sullivan,</ref> [[African art]], [[Islamic art]], [[Indian art]],<ref>[http://query.nytimes.com/gst/fullpage.html?res=9C05EED91E3CF933A25754C0A962958260&sec=&spon=&pagewanted=2] NY Times, Holland Cotter, accessed online October 27, 2007]</ref> [[Chinese art]], and [[Japanese art]]<ref>Japonisme: The Japanese Influence on Western Art Since 1858 (Paperback)
by Siegfried Wichmann# Publisher: Thames & Hudson; New Ed edition (November 19, 1999), ISBN-10: 0500281637, ISBN-13: 978-0500281635</ref> each had significant influence on Western art, and, eventually, vice-versa.<ref>''The Meeting of Eastern and Western Art'', Revised and Expanded edition (Hardcover)by Michael Sullivan, Publisher: University of California Press; Rev Exp Su edition (June 1, 1989), ISBN-10 0520059026, ISBN-13 978 0520059023</ref>
''Recommended articles: [[Painting]], [[Outline of painting history]]''.
==Pre-history==
{{Main|Prehistoric art}}
<gallery>
Image:CavePainting1.jpg|[[cave paintings|Cave Painting]]
Image:Bhimbetka.JPG|[[Rock Shelters of Bhimbetka]], [[rock painting]], [[Stone Age]], [[India]]
Image:lascaux2.jpg|[[Lascaux]], ''[[Horse]]''
Image:Paleo ptg lascaux unicorn.jpg|[[Lascaux]], ''[[Unicorn]]''
Image:Sierra san francisco.jpg|[[Rock Paintings of Sierra de San Francisco]], [[Mexico]], [[circa]] 1100 [[BCE]] - 1300 [[AD]]
Image:Rock art bull.jpg|[[Spain|Spanish]] cave painting of ''[[Bulls]]''
Image:Haljesta.jpg|[[Petroglyphs]], from [[Sweden]], [[Nordic Bronze Age]] (painted)
Image:GreatGalleryedit.jpg|Pictographs from the Great Gallery, Canyonlands National Park, [[Horseshoe Canyon]], [[Utah]], c. [[1500 BCE]]
<!-- Deleted image removed: Image:Valtorta cave painting.jpg|[[Cave painting]] from Valtorta, [[Spain]] depicting [[Upper Paleolithic]] humans hunting with bows [[circa]] 13,000 years ago) -->
</gallery>
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]]s 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)|Altamira]] cave paintings in [[Spain]] were done 14,000 to 12,000 BC and show, among others, [[bison]]s. 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.<ref>M. Hoover, Art of the Paleolithic and Neolithic Eras]," from ''Art History Survey 1'', San Antonio College (July 2001; accessed June 11, 2005).</ref> The most important work of the [[Mesolithic]] era were the marching [[Warriors]], a rock painting at Cingle de la Mola, [[Castellón]], [[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
==Eastern painting==
===South Asian painting===
<gallery>
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]], 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|Punjab]] 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|Punjab]] style, 1760.
Image:Indischer Maler um 1770 001.jpg|''Râdhâ arrests Krishna'', [[Punjab region|Punjab]] style, 1770.
Image:Indischer Maler von 1780 001.jpg|''Rama and Sita in the Forest'', [[Punjab region|Punjab]] style, 1780.
</gallery>
====Indian painting====
{{main|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]] miniature paintings to the metal embellished works from the [[Tanjore]] school. The paintings from the [[Gandhar]]-[[Taxila]] are influenced by the [[Persian art|Persian]] 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 [[Indian mythology]].
=====History=====
The earliest Indian paintings were the rock paintings of [[prehistory|prehistoric]] times, the [[petroglyph]]s 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|state]] 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|thumb|Bhimbetka rock painting|left|100px]]
[[Ajanta Caves]] in [[Maharashtra]], India are [[Rock cut architecture|rock-cut]] cave monuments dating back to the second century [[BCE]] and containing paintings and sculpture considered to be masterpieces of both Buddhist religious art<ref>UNESCO World Heritage Site. [http://whc.unesco.org/en/list/242 ''Ajanta Caves, India: Brief Description'']. Retrieved [[27 October]] [[2006]].</ref> and universal pictorial art.<ref>[[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]].</ref>
[[Image:Aurangabad - Ajanta Caves (13).JPG|thumb|100px|left|A fresco from [[Ajanta Caves#Cave 1|Cave 1 of Ajanta.]]]]
;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|thumb|180px|[[Mother Goddess]] A miniature painting of the [[Pahari]] style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features.]]
;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 century|16th]] -[[19th century|19th centuries]]).
;Tanjore painting
[[Tanjore painting]] is an important form of classical [[South India]]n 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|Chola]] 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.
<!-- Image with inadequate rationale removed: [[Image:Abanindranath.jpg|thumb|200px|A painting by Abanindranath Tagore of the Bengal school]] -->
;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 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 [[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]] 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.
===East Asian painting===
''See also [[Chinese painting]], [[Japanese painting]], [[Korean painting]].''
<gallery>
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:Chinesischer Maler des 8. Jahrhunderts 001.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]] (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
Image:SongShenzong.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 Ch'en 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]], 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
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:Chinese painting2.jpg|16th century, 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)|Go]], by [[Kanō Eitoku]] ([[1543]]-[[1590]]), Japanese
Image:Pine Trees.jpg|''Pine Trees,'' six sided screen, by [[Hasegawa Tohaku]] ([[1539]]-[[1610]]), Japanese
Image:Gu Hongzhong's 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|[[Nihonga]] style, [[Tomioka Tessai]], ([[1837]]-[[1924]])''Two Divinities Dancing,'' [[1924]], Japanese
Image:HYoshida FujiWatercolour.jpg|[[Shin hanga]] style [[Hiroshi Yoshida]], ([[1876]]-[[1950]]), [[watercolour]] of [[Mount Fuji]], Japanese
</gallery>
[[Image:Eastern Han Lacquer Basket.JPG|thumb|right|200px|A Chinese Eastern [[Han Dynasty]] [[lacquer]]ed wooden box with 3-inch tall painted figures, 2nd century AD.]]
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]] (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 Laundering'' [http://www.asia.si.edu/collections/singleObject.cfm?ObjectId=1691] (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 [[Luohan]] 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|Van Gogh]], [[Henri de Toulouse-Lautrec]] and [[Whistler]] admired traditional Japanese [[Ukiyo-e]] artists like [[Hokusai]] and [[Hiroshige]] and their work was influenced by it.
{{wide image|Along the River 7-119-3.jpg|6000px|Panorama of ''[[Along the River During Qing Ming Festival]]'', 18th century remake of a 12th century original by [[China|Chinese]] artist [[Zhang Zeduan]]}}
====Chinese painting====
{{Main|Chinese painting}}
{{See|History of Chinese art|Tang Dynasty art|Ming Dynasty painting}}
[[Image:Ch'iu Ying 001.jpg|left|thumb|300px|''Spring Morning in the Han Palace'', by Ming-era artist [[Qiu Ying]] (1494–1552 AD)]]
The earliest (surviving) examples of Chinese painted artwork date to the [[Warring States|Warring States Period]] (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 [[aristocrats]] (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|thumb|right|230px|''The [[Gautama Buddha|Sakyamuni Buddha]]'', 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 Yide's 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|thumb|left|300px|''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).]]
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?m=245&c=55], 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]], who he criticized as follows:
{{cquote|
...Then there was Li Cheng, who when he depicted [[Pavilion (structure)|pavilion]]s and lodges amidst mountains, storeyed buildings, [[pagoda]]s and the like, always used to paint the [[eave]]s as seen from below. His idea was that 'one should look upwards from underneath, just as a man standing on level ground and looking up at the eaves of a pagoda can see its rafters and its cantilever eave rafters'. This is all wrong. In general the proper way of painting a landscape is to see the small from the viewpoint of the large...just as one looks at [[artificial]] mountains in gardens (as one walks about). If one applies (Li's method) to the painting of real mountains, looking up at them from below, one can only see one profile at a time, and not the wealth of their multitudinous slopes and profiles, to say nothing of all that is going on in the valleys and [[gorge]]s, and in the lanes and [[courtyard]]s with their dwellings and houses. If we stand to the east of a mountain its western parts would be on the vanishing boundary of far-off distance, and vice-versa. Surely this could not be called a successful painting? Mr. Li did not understand the principle of 'seeing the small from the viewpoint of the large'. He was certainly marvelous at diminishing accurately heights and distances, but should one attach such importance to the angles and corners of buildings? <ref>Needham, Joseph (1986). ''Science and Civilization in China: Volume 4, Part 3''. Taipei: Caves Books, Ltd. Page 115.</ref>
}}
[[Image:Emperor Qianlong reading.jpg|right|thumb|280px|Emperor Qianlong Practicing Calligraphy, mid-[[18th century]].]]
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 Blossoms'' [http://www.asia.si.edu/collections/zoomObject.cfm?ObjectId=4693], housed in the Freer Gallery of the Smithsonian Museum in Washington DC). 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]].
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|thumb|100px|right|[[Muromachi period]], [[Shingei]], (1431–1485), ''Viewing a Waterfall,'' [http://www.nezu-muse.or.jp/syuuzou/kaiga/10169.html Nezu Museum, Tokyo].]]
====Japanese painting====
{{main|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 [[Japan]]ese [[woodblock printing|woodblock prints]] (or [[woodcuts]]) and [[painting]]s 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.
==Western painting==
{{See also|Western painting|Ancient art}}
====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]]s. 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|Egyptian painting]] 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]], [[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.
<gallery>
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 only surviving panel paintings from [[Archaic Greece]], ca. 540-530 BC
Image:Orpheus7.jpg|[[Greek art]]
Image:KnossosFrescoRepro06827.jpg|[[Knossos]]
Image:Pompejanischer Maler um 80 v. Chr. 001.jpg|[[Roman art]], [[Pompeii]]
Image:Roman mithological painting.jpg|[[Roman art]]
Image:roman painting.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]]
</gallery>
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 [[Classical]] art. Painting on [[pottery of Ancient Greece]] and [[Ceramics (art)|ceramics]] 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|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 periods<ref>[http://www.art-and-archaeology.com/roman/painting.html Roman Painting<!-- Bot generated title -->]</ref> and may contain the first examples of [[trompe-l'œil]], pseudo-perspective, and pure landscape.<ref>[http://www.accd.edu/sac/vat/arthistory/arts1303/Rome4.htm Roman Wall Painting<!-- Bot generated title -->]</ref> Almost the only painted portraits surviving from the Ancient world are a large number of [[Fayum mummy portraits|coffin-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)|miniatures]] from Late Antique illustrated books also survive, and a rather larger number of copies of them from the Early Medieval period.
====Middle Ages====
<gallery>
Image:CottonGenesisFragment26vAbrahamAndAngels.JPG|[[Cotton Genesis]] <small>''a miniature of [[Abraham]] meeting [[Angel]]s''</small>
Image:Byzantine art1.jpg|[[Byzantine art]]
Image:Byzantine art2.jpg|[[Byzantine art]]
Image:Meister_von_San_Vitale_in_Ravenna_003.jpg|[[Byzantine art]], [[Mosaic]]
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:Book of hours1.jpg|[[Book of Hours]]
Image:Hastings book of the hours.jpg|[[Book of Hours]]
Image:Codexaureus 25.jpg|[[Carolingian]]
Image:Ebbo.Gospels.St.Mark.jpg|[[Carolingian]] <small>''[[Saint Mark]]''</small>
Image:Giottino pieta.jpg|[[Giottino]]
Image:Madonna dei denti.jpg|[[Vitale da Bologna]]
Image:Simone Martini 072.jpg|[[Simone Martini]]
Image:Cimabue crucifix.jpg|[[Cimabue]]
Image:Giotto Cruxifixion.jpg|[[Giotto di Bondone|Giotto]]
Image:Giotto mural painting.jpg|[[Giotto di Bondone|Giotto]]
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</gallery>
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|Othodox]] [[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)|Macedonian art]] of around the 10th century, when Byzantine art became more flexible in approach.
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]]s such as the [[Book of Kells]]. These are most famous for their abstract decoration, although figures, and sometimes scenes, were also depicted, especially in [[Evangelist portrait]]s. [[Carolingian art|Carolingian]] 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|Romanesque]] and [[Gothic art|Gothic]] churches were decorated with [[frescoes]] 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]]s survive from the period, showing the same characteristics, which continue into the [[Gothic art|Gothic period]].
Panel painting becomes more common during the [[Romanesque art|Romanesque]] 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)|perspective]] 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.
====Renaissance and Mannerism====
{{main|Renaissance|Mannerism}}
<gallery>
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]] <small>''The Expulsion Of Adam and Eve from Eden,'' before and after restoration</small>
Image:Ucello2.jpg|[[Paolo Uccello]]
Image:Mona Lisa.jpeg|[[Leonardo Da Vinci]]
Image:madonna raphael.jpg|[[Raphael]]
Image:michelangelo-creation.jpg|[[Michelangelo]]
Image:audurer.jpg|[[Albrecht Durer]]
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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:Birth of Venus.jpg|[[Sandro Botticelli]]
Image:Giorgione_tempest.jpg|[[Giorgione]]
Image:Jan van Eyck 001.jpg|[[Jan van Eyck]]
Image:Hans Holbein d. J. 065.jpg|[[Hans Holbein the Younger]]
Image:El Greco View of Toledo.jpg|[[El Greco]]
</gallery>
The [[Renaissance]] is said by many to be the [[Golden Age (metaphor)|golden age]] of painting. Roughly spanning the [[14th century|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)|perspective]], 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]], [[Matthias Grünewald]], [[Hieronymous Bosch]], and [[Pieter Brueghel the Elder|Pieter Brueghel]] represent a different approach from their Italian colleagues, one that is more realistic and less idealized. [[Genre works|Genre painting]] 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|art of Tudor England]], 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 [[Reformation]], and the invention of the [[printing press]]. Dürer, considered one of the greatest of printmakers, states that painters are not mere [[artisan]]s but [[thinker]]s 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]]s 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]]s. 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]].
====Baroque and Rococo====
{{main|Baroque|Rococo}}
<gallery>
Image:Caravaggio bacchus.jpg|[[Caravaggio]]
Image:Rubens_-_Judgement_of_Paris.jpg|[[Peter Paul Rubens]]
Image:Vermeer.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:The_Death_of_Hyacinth.jpg|[[Giovanni Battista Tiepolo]]
Image:WatteauPierrot.jpg|[[Antoine Watteau]]
Image:Fragonard, The Swing.jpg|[[Jean-Honoré Fragonard]]
Image:Marie-Louise O'Murphy (1737-1818) painted by Francois Boucher (1703–1770).jpg|[[François Boucher]]
Image:Thomas Gainsborough 008.jpg|[[Thomas Gainsborough]]
Image:Jean-Baptiste Siméon Chardin 029.jpg|[[Jean-Baptiste-Siméon Chardin]]
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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|Rembrandt]], [[Peter Paul Rubens|Rubens]], [[Velazquez]], [[Nicolas Poussin|Poussin]], and [[Vermeer]]. Caravaggio is an heir of the [[Humanism|humanist]] painting of the [[High Renaissance]]. His [[realism (visual arts)|realistic]] 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|La Tour]].
During the 18th century, [[Rococo]] followed as a decadent sub-genre of Baroque, lighter, often frivolous and erotic. The French masters [[Jean-Antoine Watteau|Watteau]], [[François Boucher|Boucher]] and [[Fragonard]] represent the style, as do [[Giovanni Battista Tiepolo]] and [[Thomas Gainsborough]]. [[Jean-Baptiste-Siméon Chardin]] was considered by some as the best French painter of the 18th century - the Anti-Rococo.
====19th century: Neo-classicism, Romanticism, Impressionism====
{{main|Neoclassicism|Romanticism|Impressionism|Post Impressionism|Hudson River School}}
<gallery>
Image:David_-_The_Death_of_Socrates.jpg|[[Jacques-Louis David]] [[1787]]
Image:Constable DeadhamVale.jpg|[[John Constable]] [[1802]]
Image:IngresBainTurc.jpg|[[Jean Auguste Dominique Ingres]] [[1862]]
Image:Eugène Delacroix - La liberté guidant le peuple.jpg|[[Eugène Delacroix]], [[1830]]
Image:Francisco de Goya y Lucientes 023.jpg|[[Francisco de Goya]] [[1814]]
Image:Floss der medusa.jpg|[[Théodore Géricault]] [[1819]]
Image:Caspar David Friedrich 031.jpg|[[Caspar David Friedrich]] c.[[1822]]
Image:Turner,_J._M._W._-_The_Fighting_Téméraire_tugged_to_her_last_Berth_to_be_broken.jpg|[[J. M. W. Turner]] [[1838]]
Image:Ornans.jpg|[[Gustave Courbet]] [[1849]]-[[1850]]
Image:Bierstadt-storm-in-the-rocky-mountains-1886.jpg|[[Albert Bierstadt]] [[1886]]
image:corot.villedavray.750pix.jpg|[[Camille Corot]] c.[[1867]]
Image:Claude Monet, Impression, soleil levant, 1872.jpg|[[Claude Monet]] [[1872]]
Image:Renoir21.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|[[Vincent van Gogh]] [[1889]]
Image:Woher kommen wir Wer sind wir Wohin gehen wir.jpg|[[Paul Gauguin]] [[1897]]-[[1898]]
Image:Georges_Seurat_-_Un_dimanche_après-midi_à_l'Île_de_la_Grande_Jatte.jpg|[[Georges Seurat]] [[1884]]-[[1886]]
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Image:Albert Pinkham Ryder 003.jpg|[[Albert Pinkham Ryder]], [[1890]]
Image:Paul Cézanne 047.jpg|[[Paul Cézanne]] [[1906]]
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After the decadence of [[Rococo]] there arose in the late 18th century an ascetic [[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 mankind's will. There is a [[pantheist]] philosophy (see [[Spinoza]] and [[Hegel]]) within this conception that opposes [[Age of Enlightenment|Enlightenment]] ideals by seeing mankind's 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 [[sublime]], ruined churches, shipwrecks, massacres and madness.
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 [[Eugene 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. In the [[United States]] the Romantic tradition of landscape painting was known as the [[Hudson River School]]. Important painters of that school include [[Thomas Cole]], [[Frederick Church]], [[Albert Bierstadt]], [[Thomas Moran]], and [[John Frederick Kensett]] among others. [[Luminism (American art style)|Luminism]] was another important movement in American landscape painting related to the Hudson River School.
The spell of [[Impressionism]] was felt throughout the world, and nowhere more profoundly than 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 Blakelock]].
The leading [[Barbizon School]] painter [[Camille Corot]] painted sometimes as a romantic, sometimes as a [[Realism (visual arts)|Realist]] who looks ahead to [[Impressionism]]. A major force in the turn towards [[Realism (visual arts)|Realism]] 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]], and [[Edgar Degas]] and the slightly younger post-Impressionists like [[Vincent Van Gogh]], [[Paul Gauguin]], and [[Georges Seurat]], along with [[Paul Cezanne]] lead art up to the edge of [[modernism]].
====20th century Modern and Contemporary====
{{main|Modern Art|Modernism|Contemporary art}}
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<gallery>
Image:Les Demoiselles D'Avignon.jpg|[[Pablo Picasso]] [[1907]]
Image:Violcand.jpg|[[Georges Braque]] [[1910]]
Image:De_Chirico's_Love_Song.jpg|[[Giorgio de Chirico]] [[1914]]
Image:Kandinsky WWI.jpg|[[Wassily Kandinsky]] [[1913]]
Image:Malevici06.jpg|[[Kasimir Malevich]] [[1916]]
Image:Mondrian CompRYB.jpg|[[Piet Mondrian]] [[1921]]
Image:KleeSP.jpg|[[Paul Klee]] [[1922]]
Image:Duchamp LargeGlass.jpg|[[Marcel Duchamp]] [[1915]]-[[1923]]
Image:MenShallKnowNothingofThis.jpg|[[Max Ernst]] [[1923]]
Image:MagrittePipe.jpg|[[Rene Magritte]] [[1928]]-[[1929]]
Image:The_Persistence_of_Memory.jpg|[[Salvador Dali]] [[1931]]
Image:americangothic.jpg|[[Grant Wood]] [[1930]]
Image:Frida Kahlo (self portrait).jpg|[[Frida Kahlo]] [[1940]]
Image:Nighthawks.jpg|[[Edward Hopper]] [[1942]]
Image:Study after Velazquez's Portrait of Pope Innocent X.jpg|[[Francis Bacon (painter)|Francis Bacon]] [[1953]]
Image:Kooning_woman_v.jpg|[[Willem De Kooning]] [[1952]]-[[1953]]
Image:Pollock composit.jpg|[[Jackson Pollock]] [[1950]]
Image:Kline_no2.jpg|[[Franz Kline]] [[1954]]
Image:Still 1957 D1.jpg|[[Clyfford Still]] [[1957]]
Image:Frankenthaler_Helen_Mountains and Sea_1952.jpg|[[Helen Frankenthaler]] [[1952]]
Image:Robert Rauschenberg's untitled 'combine', 1963.jpg|[[Robert Rauschenberg]] [[1963]]
Image:Cityscape I 360.jpg|[[Richard Diebenkorn]] [[1963]]
Image:Fairfield Porter's painting 'Under the Elms', 1971 - 1972.jpg|[[Fairfield Porter]] [[1971]]-[[1972]]
Image:Roy Lichtenstein Drowning Girl.jpg|[[Roy Lichtenstein]] [[1963]]
Image:Campbells Soup Cans MOMA.jpg|[[Andy Warhol]] [[1962]]
Image:Hockney, A Bigger Splash.jpg|[[David Hockney]] [[1967]]
Image:Josef Albers's painting 'Homage to the Square', 1965.jpg|[[Josef Albers]] [[1965]]
Image:Frank Stella's 'Harran II', 1967.jpg|[[Frank Stella]] [[1967]]
Image:BlackGreyBeat.jpg|[[Gene Davis]] [[1964]]
Image:P0055av_Ring.jpg|[[Ronald Davis]] [[1968]]
Image:Gardenofdelight.jpg|[[Ronnie Landfield]] [[1971]]
Image:gustonphilip.jpg|[[Philip Guston]] [[1973]]
Image:Rothhorse2.jpg|[[Susan Rothenberg]] [[1979]]
Image:Badboy.jpg|[[Eric Fischl]] [[1981]]
Image:Kiefer.jpg|[[Anselm Kiefer]] [[1983]]
</gallery>
-->
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|cubist]] paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: [[cube]], [[sphere]] and [[cone (geometry)|cone]].
====Pioneers====
<gallery>
Image:Matisse-Open-Window.jpg|[[Henri Matisse]] [[1905]], [[Fauvism]]
[[Image:Matissedance.jpg|[[Henri Matisse]] [[1909]], late [[Fauvism]]]]
Image:Chicks-from-avignon.jpg|[[Pablo Picasso]] [[1907]], early [[Cubism]]
Image:Violcand.jpg|[[Georges Braque]] [[1910]], [[Analytic Cubism]]
Image:Henri Rousseau 005.jpg|[[Henri Rousseau]] [[1910]] [[Primitive]] [[Surrealism]]
Image:Kandinsky WWI.jpg|[[Wassily Kandinsky]] [[1913]], [[birth]] of [[Abstract Art]]
Image:De_Chirico's_Love_Song.jpg|[[Giorgio de Chirico]] [[1914]], pre-[[Surrealism]]
Image:Delaunay ChampDeMars.jpg|[[Robert Delaunay]], [[1911]], [[Orphism (art)|Orphism]]
Image:Leger railway crossing.jpg|[[Fernand Leger]] [[1919]], [[Synthetic Cubism]], [[Tubism]]
Image:Chagall IandTheVillage.jpg|[[Marc Chagall]] [[1911]], [[Expressionism]] and [[Surrealism]]
Image:Deer_in_the_Woods_II.jpg|[[Franz Marc]] [[1912]], [[Der Blaue Reiter]]
Image:Picabia Machine Turn.jpg|[[Francis Picabia]] [[1916]], [[Dada]]
Image:MenShallKnowNothingofThis.jpg|[[Max Ernst]] [[1923]], early [[Surrealism]]
</gallery>
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). [[Pablo Picasso]] made his first [[Cubism|cubist]] paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: [[cube]], [[sphere]] and [[cone (geometry)|cone]]. 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]] 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 Afternoon'' and ''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)
In the first two decades of the 20th century and after [[cubism]], several other important movements emerged; [[Futurism (art)|Futurism]] ([[Giacomo Balla|Balla]]), [[Abstract art]] ([[Kandinsky]]), [[Der Blaue Reiter]]), [[Bauhaus]], ([[Kandinsky]]) and ([[Paul Klee|Klee]]), [[Orphism]], ([[Robert Delaunay]] and [[František Kupka]]), [[Synchromism]] ([[Morgan Russell]]), [[De Stijl]] ([[Piet Mondrian|Mondrian]]), [[Suprematism]] ([[Malevich]]), [[Constructivism (art)|Constructivism]] ([[Tatlin]]), [[Dadaism]] ([[Duchamp]], [[Picabia]], [[Jean Arp|Arp]]) and [[Surrealism]] ([[Giorgio De Chirico|De Chirico]], [[André Breton]], [[Joan Miró|Miró]], [[René Magritte|Magritte]], [[Salvador Dalí|Dalí]], [[Max Ernst|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|advertising art]] and [[fashion]]. Van Gogh's painting exerted great influence upon 20th century [[Expressionism]], as can be seen in the work of the [[Fauves]], [[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..
[[Wassily Kandinsky]] a [[Russia]]n [[painter]], [[printmaker]] and art [[theorist]], one of the most famous [[20th-century]] artists is generally considered the first important painter of [[Modern Art|modern]] [[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)|Orphism]], (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. Still other important pioneers of abstract painting include [[Czechs|Czech]] painter, [[František Kupka]] and [[Synchromism]], an art movement founded in 1912 by [[United States|American]] [[artists]] [[Stanton MacDonald-Wright]] and [[Morgan Russell]] that closely resembles [[Orphism (art)|Orphism]].
====Between the Wars====
<gallery>
Image:Malevici06.jpg|[[Kasimir Malevich]] [[1916]] [[Suprematism]]
Image:Amadeo Modigliani 012.jpg|[[Amadeo Modigliani]] [[1917]] [[Symbolism]] and [[Expressionism]]
Image:MacDonaldWright_AirplaneSynchYelOrng.jpg|[[Stanton MacDonald-Wright]] [[1920]], [[Synchromism]]
Image:Mondrian CompRYB.jpg|[[Piet Mondrian]] [[1921]] [[De Stijl]]
Image:Otto_Dix_Sy_von_Harden.jpg|[[Otto Dix]], [[1926]] [[Germany|German]] [[Expressionism]]
Image:Davis steeple street.jpg|[[Stuart Davis]] [[United States|American]] [[Modernism]] [[1922]]
Image:Demuth_Charles_I Saw the Figure 5 in Gold_1928.jpg|[[Charles Demuth]], [[1928]] [[United States|American]] [[Precisionism]] (proto [[Pop Art]])
Image:'Cat and Bird' by Paul Klee. 1928 oil and ink on gessoed canvas mounted on wood, 1928, Museum of Modern Art (New York City).jpg|[[Paul Klee]] [[1928]], [[Bauhaus]]
Image:People-of-Chilmark-Benton-1920-lrg.jpg|[[Thomas Hart Benton (painter)|Thomas Hart Benton]] [[1920]], [[American scene painting|Regionalism]]
Image:americangothic.jpg|[[Grant Wood]] [[1930]] [[Social Realism]]
Image:MagrittePipe.jpg|[[Rene Magritte]] [[1928]]-[[1929]] [[Surrealism]]
Image:The_Persistence_of_Memory.jpg|[[Salvador Dalí]] [[1931]], [[Surrealism]] (super-realism)
Image:Max Beckmann's 'Self-portrait with Horn', 1938-1940.jpg|[[Max Beckmann]] [[1938]]-[[1940]] [[Expressionism]]
Image:Kandinsky 1939 Composition-X.png|[[Wassily Kandinsky]] ''Composition X'' [[1939]] [[Geometric abstraction]]
Image:master-bill.jpg|[[Arshile Gorky]] [[1929]]-[[1936]] pre [[Abstract Expressionism]]
Image:PicassoGuernica.jpg|[[Pablo Picasso]] [[Guernica]] [[1937]] [[protest]] against [[Fascism]]
</gallery>
[[Piet Mondrian]]'s art was intimately related to his spiritual and philosophical studies. In 1908 he became interested in the [[Theosophy|theosophical]] 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 Mondrian's work for the rest of his life was inspired by his search for that spiritual knowledge. Other major pioneers of early abstraction include [[Russia]]n [[painter]] [[Kasimir Malevich]], who after the [[Russian Revolution (1917)|Russian Revolution]] in 1917, and after pressure from the [[Stalinist]] [[regime]] in 1924 returned to painting imagery and ''Peasants and Workers in the field,''<ref>http://en.wikipedia.org/wiki/Kasimir_Malevich</ref><ref>http://en.wikipedia.org/wiki/Suprematism</ref> and [[Swiss (people)|Swiss]] [[painter]] [[Paul Klee]] whose masterful color experiments made him an important pioneer of [[abstract painting]] at the [[Bauhaus]].
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]], created reputations abroad. In [[New York City]], [[Albert Pinkham Ryder]] and [[Ralph Blakelock]] were influential and important figures in advanced American painting between 1900 and 1920. During the 1920s photographer [[Alfred Stieglitz]] exhibited [[Georgia O'Keefe]], [[Arthur Dove]], [[Alfred Henry Maurer]], [[Charles Demuth]], [[John Marin]] and other artists including European Masters [[Henri Matisse]], [[Auguste Rodin]], [[Henri Rousseau]], [[Paul Cezanne]], 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]] 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)|Stuart Davis]], 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.
During the 1930s and the [[Great Depression]], [[Surrealism]], late [[Cubism]], the [[Bauhaus]], [[De Stijl]], [[Dada]], and colorist painters like [[Henri Matisse]] and [[Pierre Bonnard]] characterized the European art scene. While in America the [[Social Realism]] movement that contained both political and social commentary dominated the art world. Artists like [[Ben Shahn]], [[Thomas Hart Benton]], [[Grant Wood]], [[George Tooker]], [[John Steuart Curry]], [[Reginald Marsh (artist)|Reginald Marsh]], and others became prominent. In [[Latin America]] besides the [[Uruguay]]an painter [[Joaquín Torres García]] and [[Rufino Tamayo]] from [[Mexico]], the [[Mural|muralist movement]] with [[Diego Rivera]], [[David Siqueiros]], [[José Orozco]], [[Pedro Nel Gómez]] and [[Santiago Martinez Delgado]] and the [[Symbolism (arts)|Symbolist]] 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 Kahlo's self portraits underscore the vitality and relevance of her paintings to artists in the 21st century.
During the 1930s radical leftist politics characterized many of the artists connected to [[Surrealism]], including [[Pablo Picasso]].<ref>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.</ref> On [[April 26]], [[1937]], during the [[Spanish Civil War]], the [[Basque Country (autonomous community)|Basque]] town of [[Gernika]] was the scene of the "[[Bombing of Gernika]]" by the Condor Legion of Nazi Germany's 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.<ref>http://en.wikipedia.org/wiki/Bombing_of_Gernika</ref>
In its final form, ''Guernica'' is 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.
<ref>[http://www.arthistoryarchive.com/arthistory/cubism/Pablo-Picasso.html Pablo Picasso - Biography, Quotes & Paintings], retrieved [[June 14]], [[2007]].</ref>
Picasso painted the mural sized painting called ''[[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 Picasso's 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.<ref>http://en.wikipedia.org/wiki/Guernica_%28painting%29</ref>
====Towards Mid Century====
<gallery>
[[Image:Max Beckmann's 'Self-portrait with Horn', 1938-1940.jpg|[[Max Beckmann]]]] [[1938]]-[[1940]] [[Expressionism]]
Image:Frida Kahlo (self portrait).jpg|[[Frida Kahlo]] [[1940]], [[Latin American]] [[Symbolism (arts)|Symbolism]]
Image:Nighthawks.jpg|[[Edward Hopper]] [[1942]], [[American Scene painting]]
Image:Christinasworld.jpg|[[Andrew Wyeth]] [[1948]], [[Realism]]
Image:Newman-Onement 1.jpg|[[Barnett Newman]], ''Onement 1,'' [[1948]], [[Color Field]] - [[Abstract Expressionism]]
Image:'Magenta, Black, Green on Orange', oil on canvas painting by Mark Rothko, 1947, Museum of Modern Art.jpg|[[Mark Rothko]], ''Magenta, Black, Green on Orange,'' [[1949]], [[Color Field]] - [[Abstract Expressionism]]
Image:Agotliebmoma.png|[[Adolph Gottlieb]] [[1949]], [[Pictograph]]
[[Image:Freud, girl-white-dog.jpg|[[Lucien Freud]] [[1951]] - [[1952]], [[British]] [[Figurative painting]]]]
Image:Study after Velazquez's Portrait of Pope Innocent X.jpg|[[Francis Bacon (painter)|Francis Bacon]] [[1953]], [[United Kingdom|British]] [[Expressionism]]
Image:Kooning_woman_v.jpg|[[Willem De Kooning]] [[1952]]-[[1953]] [[Figurative art|Figurative]] [[Abstract Expressionism]]
Image:Pollock composit.jpg|[[Jackson Pollock]] [[1950]] [[Abstract Expressionism]]
Image:Kline_no2.jpg|[[Franz Kline]] [[1954]] [[Action painting]]
Image:Still 1957 D1.jpg|[[Clyfford Still]] [[1957]] [[Color Field]] - [[Abstract Expressionism]]
Image:Hans Hofmann's painting 'The Gate', 1959–60.jpg|[[Hans Hofmann]] [[1959]]-[[1960]] [[Abstract Expressionism]] and [[Geometric abstraction]]
<!--Image:Robert Motherwell's 'Elegy to the Spanish Republic No. 110'.jpg|[[Robert Motherwell]], ''Elegy to the Spanish Republic No. 110''--!>
</gallery>
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 Leger]], [[Max Ernst]] and the [[Andre Breton]] group, Pierre Matisse's 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]], [[Adolph Gottlieb]], [[Barnett Newman]], [[Philip Guston]], [[Robert Motherwell]], and [[Franz Kline]], among others. American [[Abstract expressionism]] got its name in 1946 from the art critic [[Robert Coates (critic)|Robert Coates]]. It is seen as combining the emotional intensity and self-denial of the German [[expressionism|Expressionists]] with the anti-figurative aesthetic of the European abstract schools such as [[Futurism (art)|Futurism]], the [[Bauhaus]] and Synthetic [[Cubism]].
Technically [[Surrealism]] was an important predecessor for [[Abstract expressionism]] with its emphasis on spontaneous, [[Surrealist automatism|automatic]] 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 ear<nowiki>ly m</nowiki>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 Pollock's drip paintings.
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. Pollock's energetic "[[action painting]]s", with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque ''Women'' series of [[Willem de Kooning]] (which are [[Figurative art|figurative paintings]]) and to 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), yet all three are classified as abstract expressionists.
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.
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|Social Realists]] 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" 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 ''arena'' became a credo of [[Action painting]], while the ''integrity of the picture plane'' became a credo of the [[Color field]] painters.
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]].
====Pop Art, Neo Dada and Realism====
<!-- NOTE TO EDITORS: DO NOT ADD YOUR OWN NAME TO THIS LIST! -->
<gallery>
Image:Jasper Johns's 'Flag', Encaustic, oil and collage on fabric mounted on plywood,1954-55.jpg|[[Jasper Johns]] [[1954]]-[[55]] pre-[[Pop Art]]
Image:Robert Rauschenberg's untitled 'combine', 1963.jpg|[[Robert Rauschenberg]] [[1963]], [[Neo-Dada]]
Image:Roy Lichtenstein Whaam.jpg|[[Roy Lichtenstein]], [[1963]] [[Pop Art]]
Image:Campbells Soup Cans MOMA.jpg|[[Andy Warhol]] [[1962]], [[Pop Art]] ([[repetition]])
Image:Alex Katz's 1970 painting of his son 'Vincent with Open Mouth'.jpg|[[Alex Katz]] [[1970]], [[Pop Art]]
Image:Hockney, A Bigger Splash.jpg|[[David Hockney]] [[1967]], [[England|English]] [[Pop Art]]
Image:Cityscape I 360.jpg|[[Richard Diebenkorn]] [[1963]], [[Bay Area Figurative Movement]]
Image:Fairfield Porter's painting 'Under the Elms', 1971 - 1972.jpg|[[Fairfield Porter]] [[1971]]-[[1972]], [[East Coast of the United States|East Coast]] [[Figurative painting]]
</gallery>
[[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)|Stuart Davis]] and [[Charles Demuth]] during the 1920s and 1930s set the table for [[Pop Art]] in [[United States|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 Rauschenberg's 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]].
[[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 Realists'' the 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.
Earlier in [[England]] in 1958 the term "Pop Art" was used by [[Lawrence Alloway]] 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.<ref>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</ref>The early works of [[David Hockney]] and the works of [[Richard Hamilton (artist)|Richard Hamilton]] and [[Eduardo Paolozzi]] were considered seminal examples in the movement.
While in the downtown scene in [[New York City]]'s [[East Village, Manhattan|East Village]] [[Tenth street galleries|10th Street galleries]] artists were formulating an American version of [[Pop Art]]. [[Claes Oldenburg]] had his storefront, and the Green Gallery on [[57th Street (Manhattan)|57th Street]] 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]], [[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 (painter)|Francis Bacon]], [[Nicolas de Staël]], [[Andrew Wyeth]], [[Lucian Freud]], [[Frank Auerbach]], [[Philip Pearlstein]], [[David Park]], [[Nathan Oliveira]], [[David Hockney]], [[Chuck Close]], [[Susan Rothenberg]], [[Eric Fischl]], [[Vija Celmins]] and [[Richard Diebenkorn]].
====New abstraction from the 1950s through the 1980s====
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<gallery>
Image:Frankenthaler_Helen_Mountains and Sea_1952.jpg|[[Helen Frankenthaler]] [[1952]], [[Color Field painting]]
Image:Josef Albers's painting 'Homage to the Square', 1965.jpg|[[Josef Albers]] [[1965]], [[Geometric abstraction]]
Image:TotRY.jpg|[[Richard Anuszkiewicz]], [[1985]] [[Op Art]]
Image:'Alpha-Pi', acrylic on canvas painting by Morris Louis, 1960, Metropolitan Museum of Art.jpg|[[Morris Louis]] [[1960]] [[Minimalism]]-[[Color field]]
Image:Frank Stella's 'Harran II', 1967.jpg|[[Frank Stella]] [[1967]], [[Shaped Canvas]]
Image:BlackGreyBeat.jpg|[[Gene Davis (painter)|Gene Davis]] [[1964]], [[Washington Color School]]
Image:P0055av_Ring.jpg|[[Ronald Davis]] [[1968]], [[Abstract Illusionism]]
Image:Forwilliamblake.jpg|[[Ronnie Landfield]], [[1968]], [[Lyrical Abstraction]]
</gallery>
[[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]].
Color Field painting sought to rid art of superflous 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]]ists, [[minimalism|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 art|abstract]], 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]]s' 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.
Another related movement of the late 1960s [[Lyrical Abstraction]] is a term that was originally coined 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.<ref>Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November-December 1969, pp.104-113.</ref> 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.<ref>Lyrical Abstraction, Exhibition Catalogue, the Aldrich Museum of Contemporary Art, Ridgefield, Conn. 1970.</ref>
[[Lyrical Abstraction]] in the late 1960s is characterized by the paintings of [[Dan Christensen]], [[Ronnie Landfield]], [[Peter Young (artist)|Peter Young]] 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)<ref name = "sxdvrz">''Movers and Shakers, New York'', "Leaving C&M", by Sarah Douglas, Art and Auction, March 2007, V.XXXNo7.</ref> 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]].<ref name = "sxdvrz"/> 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.<ref>Martin, Ann Ray, and Howard Junker. The New Art: It's Way, Way Out, Newsweek [[29 July]] [[1968]]: pp.3,55-63.</ref> 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.<ref>The Aldrich Museum of Contemporary Art, ''Lyrical Abstraction,'' exhibition: April 5 through June 7, 1970</ref>, <ref>''Lyrical Abstraction'' Whitney Museum of American Art, New York, May 25 - July 6, 1971</ref>
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)|Gene Davis]], [[Frank Stella]], [[Kenneth Noland]], [[Joan Mitchell]], [[Friedel Dzubas]], and younger artists like [[Brice Marden]], [[Robert Mangold]], [[Sam Gilliam]], [[Sean Scully]], [[Pat Steir]], [[Elizabeth Murray (artist)|Elizabeth Murray]], [[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.
====Neo Expressionism====
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<gallery>
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]], [[Europe]]an [[Neo-expressionism]]
</gallery>
In the late 1970s and early 1980s, there was also a return to painting that occurred almost simultaneously in Italy, Germany, France and Britain. These movements were called [[Transavantguardia]], [[Neue Wilde]], [[Figuration Libre]], [[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.
Neo-expressionism was a style of [[Modernism|modern]] [[painting]] that emerged 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|minimalistic]] [[art]] of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in a virtually [[abstract art|abstract]] manner), in a rough and violently emotional way using vivid colours and banal colour harmonies.
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.
====Contemporary painting into the 21st Century====
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{{main|Contemporary art|Postmodern art|Late Modernism}}
<gallery>
Image:'Zim Zum' by Anselm Kiefer, 1990, acrylic, emulsion, crayon, shellac, ashes and canvas on lead, National Gallery of Art (Washington, D. C.).jpg|[[Anselm Kiefer]], 1990
Image:Thedeluge.jpg|[[Ronnie Landfield]], 1999
Image:Yan Pei-Ming2005, oil on canvas, 'Eros Center, prostituée de Francfort '.jpg|[[Yan Pei-Ming]], [[2005]] [[Contemporary art|Contemporary]] [[painting]] from [[China]]
</gallery>
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|pluralism]]. The "crisis" in painting and current art and current [[art criticism]] today is brought about by [[Cultural pluralism|pluralism]]. There is no consensus, nor need there be, as to a representative style of the age. There is an ''anything goes'' attitude 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)|Appropriation]], [[Hyperrealism]], [[Photorealism]], [[Expressionism]], [[Minimalism]], [[Lyrical Abstraction]], [[Pop Art]], [[Op Art]], [[Abstract Expressionism]], [[Color Field painting]], [[Monochrome painting]], [[Neo-expressionism]], [[Collage]], [[Intermedia]] painting, [[Assemblage]] painting, [[Computer art]] painting, [[Postmodern]] painting, [[Neo-Dada]] painting, [[Shaped canvas]] painting, environmental [[mural painting]], traditional [[figure]] painting, [[Landscape painting]], [[Portrait painting]], are a few continuing and current directions in painting at the beginning of the 21st century.
==Painting in the Americas==
{{Main|Maya art|Pre-Columbian art}}
During the period before and after [[Europe]]an exploration and settlement of the Americas, including [[North America]], [[Central America]], [[South America]] and the Islands of the [[Caribbean Sea]], the [[Antilles]], the [[Lesser Antilles]] and other island groups, indigenous native cultures produced creative works including [[architecture]], [[pottery]], [[Ceramic art|ceramics]], [[weaving]], [[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]]s in the Americas during and after the [[15th century]]. By the [[19th century]] cultural influence began to flow both ways across the [[Atlantic Ocean|Atlantic]].
===Mexico And Central America===
<gallery>
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|Mayan mural]] 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|Maya court]], 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|Maya codex]]
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]]
</gallery>
===South America===
<gallery>
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
</gallery>
===North America===
====United States====
<gallery>
Image:GreatGalleryPanel.jpg|''The Great Gallery'', [[Pictographs]], [[Canyonlands National Park]], [[Horseshoe Canyon]], [[Utah]], 15 feet by 200 feet, 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 pottery of the [[Mississippian culture]], [[800 AD]]–[[1500 AD]].
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]], made in [[Arizona]], 1880.
Image:Zuni-girl-with-jar2.png|A girl from the [[Zuni (tribe)|Zuni tribe]] of [[New Mexico]] with a painted pottery jar, photographed in c. 1903.
Image:Navajo sandpainting.jpg|[[Edward S. Curtis]], ''[[Navajo]] [[sandpainting]],'' [[sepia]] [[photogravure]] c. 1907
Image:Zahadolzhá--Navaho.jpg|[[Navajo]] man in ceremonial dress with mask and body paint, c. 1904
Image:UteHideArt3.jpg|An [[Ute Tribe|Uncompaghre Ute]], ''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]], ''circa'' 1901.
Image:Tlingit K'alyaan Totem Pole August 2005.jpg|The ''K'alyaan'' 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 [[Yupi'k]] 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]]
</gallery>
====Canada====
<gallery>
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]].
</gallery>
===Caribbean===
<gallery>
Image:Petroglyph at Caguana.jpg|''Rock [[petroglyph]] overlayed with chalk,'' Caguana Indigenous Ceremonial Center. [[Utuado, Puerto Rico]].
</gallery>
==Islamic painting==
<gallery>
Image:Yahyâ ibn Mahmûd al-Wâsitî 007.jpg|Yahyâ ibn Mahmûd al-Wâsitî, 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.
</gallery>
{{Refimprovesect|date=June 2007}}
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.{{Fact|date=June 2007}} Pictorial activity was reduced to [[Arabesque]], mainly [[Abstract art|abstract]], 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 [[tiles]] in [[mosques]] or in illuminations around the text of the holy 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.
''See also [[Islamic art]].''
''See also [[Persian miniature]].''
''See also [[Arabesque]].''
===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 Iran's 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.
==Australia==
{{main|Aboriginal art|Art of Australia|List of Australian artists}}
==Africa==
<gallery>
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:KikuyuWoman.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|contemporary]]
</gallery>
{{main|African art|African tribal masks}}
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.
====Influence on Western art====
At the start of the [[20th century]], artists like [[Pablo Picasso|Picasso]], [[Henri Matisse|Matisse]], [[Vincent van Gogh]], [[Paul Gauguin]] and [[Amedeo Modigliani|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)|formal]] perfection and sophistication unified with phenomenal expressive power.<ref>http://en.wikipedia.org/wiki/African_art</ref>
==References==
{{reflist}}
==Sources==
*[[Clement Greenberg]], ''Art and Culture,'' Beacon Press, 1961
*''[[Lyrical Abstraction]]'', Exhibition Catalogue, [[Whitney Museum of American Art]], NYC, 1971.
* O'Connor, 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
== See also ==
* [[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]]
== External 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 [[May 28]], [[2007]]
*[http://www.metmuseum.org/toah/splash.htM Metropolitan Museum of Art Timeline of Art History]
*[http://www.minusspace.com/chronology1800-1899.htm Chronology of Reductive Art]
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