The historical painting reaches back in time to artifacts from prehistoric humans, and encompasses all cultures. It represents a continuous tradition, although it is periodically disturbed from Antiquity. In many cultures, and covering continents and millennia, the history of painting is the continuing river of creativity, which continues into the 21st century. Until the early 20th century, he relied primarily on representational, religious, and classical motifs, after which a more pure abstract and conceptual approach got support.
Developments in Eastern paintings have historically been paralleled with Western paintings, in general, several centuries earlier. African art, Jewish art, Islamic art, Indian art, Chinese art, and Japanese art each have a significant influence on Western art, and vice versa.
Originally serving utilitarian purposes, followed by imperial, private, civil, and religious patronage, East and West paintings later found audiences in the aristocracy and the middle class. From the modern era, the Middle Ages through Renaissance painters worked for the church and the rich aristocracy. Beginning with Baroque era artists receiving personalized commissions from a more educated and prosperous middle class. Finally in the West the idea of ​​"art for art" begins to find expression in works of Romantic painters such as Francisco de Goya, John Constable, and J. M. W. Turner. The 19th century saw the emergence of a commercial art gallery, which provided protection in the 20th century.
Video History of painting
Pre-history
The oldest known painting is about 40,000 years old. JosÃÆ'Â © Luis SanchidriÃÆ'¡n at the University of Cordoba, Spain, believes the paintings were more likely to be painted by Neanderthals than early modern humans. Images in the Chauvet cave in France are estimated to be about 32,000 years old. They are carved and painted using red ocher and black pigments and show horses, rhinoceros, lions, buffalo, mammoth or humans who often hunt. There are several examples of cave paintings around the world - in France, India, Spain, Portugal, China, Australia etc.
Various conjectures have been made about the meaning of these paintings to the people who made them. Prehistoric humans may have painted animals to "catch" their souls or spirits to hunt them down more easily or paintings may represent animist vision and respect for the natural surroundings. They may result from the basic needs of human expression, or they could be for the transmission of practical information.
In the Paleolithic era, human representations in cave paintings are rare. Most animals are painted, not only animals used as food but also animals that represent strengths such as rhinoceros or large Felidae, like in Chauvet Cave. Signs such as dots are sometimes drawn. Rare human representations include hand prints and stencils, and figures depicting human/animal hybrids. The Chauvet Cave at the ArdÃÆ'¨che Departments of France contains the most important cave paintings of the Paleolithic era, painted around 31,000 BC. The cave paintings of Altamira in Spain do 14,000 to 12,000 BC and show, among other things, bison. The bull hall in Lascaux, Dordogne, France, is one of the most famous cave paintings and dates from about 15,000 to 10,000 BC.
If there is meaning to the painting, it remains unknown. The caves were not in the inhabited area, so the cave was probably used for seasonal rituals. The animals are accompanied by signs indicating the possibility of using magic. Symbols such as arrows in Lascaux are sometimes interpreted as being used as calendars or almanacs, but the evidence remains inconclusive. The most important work of the Mesolithic era is the marching of warriors , a stone painting in Cingle de la Mola, Castellón, Spain dated about 7000 to 4000 BC. The technique used may spit or blow the pigment into the stone. These paintings are quite naturalistic, though stylish. The numbers are not three-dimensional, although they overlap
The earliest known Indian paintings (see sections below) are prehistoric stone paintings, petroglyphs such as those found in places like Shelter Rock of Bhimbetka, (see above) and some of them older than 5500 BC. The works continued and after several millennia, in the 7th century, the Ajanta carved pillars of the state of Maharashtra present a fine example of Indian paintings. The colors, mostly various shades of red and orange, are derived from minerals.
Maps History of painting
Eastern Painting
The history of Eastern paintings encompasses various influences from different cultures and religions. The developments in Eastern paintings have historically been paralleled with Western paintings, generally a few centuries earlier. African art, Jewish art, Islamic art, Indian art, Chinese art, Korean art, and Japanese art each have a significant influence on Western art, and vice versa.
Chinese painting is one of the oldest sustainable art traditions in the world. The early paintings are not representative but ornamental; they consist of patterns or designs rather than images. Early pottery painted with spirals, zigzags, dots, or animals. It was only during the Warring States period (403-221 BC) that the artists began to represent the world around them. Japanese painting is one of Japan's oldest and most refined art, covering a variety of genres and styles. The history of Japanese painting is a long history of synthesis and competition between the original Japanese aesthetics and the adaptation of imported ideas. The Korean painting, as an independent form, began about 108 BC, around the fall of Gojoseon, making it one of the oldest in the world. The artwork of that time period evolved into various styles that characterize the Three Kingdoms Korean period, especially the paintings and wall paintings that adorn the tomb of the Goguryeo nobility. During the Three Kingdoms period and through the Goryeo dynasty, Korean paintings are characterized primarily by a combination of Korean-style landscapes, facial features, Buddhist-centered themes, and an emphasis on celestial observation facilitated by the rapid development of Korean astronomy.
East Asian Paintings
Lihat juga lukisan Cina, lukisan Jepang, lukisan Korea.
Chinese, Japanese, and Korean have a strong tradition in painting that is also highly attached to the art of calligraphy and graphic art (so often seen as paintings). The Far Eastern traditional painting is characterized by water-based techniques, lack of realism, the subject of "elegant" and stylish, graphical approaches to depiction, the importance of white space (or negative space) and preference for landscapes (not human figures) as subjects. In addition to ink and color on silk or rolls of paper, gold on lacquer is also a common medium in painted East Asian artwork. Although silk is a rather expensive medium to paint in the past, the discovery of paper during the 1st century by Han Cai Lun's trial court not only provided a cheap and extensive medium for writing but also a cheap and widespread media for painting. (making it more accessible to the public).
The ideologies of Confucianism, Taoism, and Buddhism play an important role in the art of East Asia. Medieval Dynasty singers like Lin Tinggui and his Luii Laundering (housed in the 12th-century Smithsonian Freer Art Gallery) are excellent examples of Buddhist ideas incorporated into Chinese classical artworks. In the last painting on the sutra (picture and description provided in the link), the bald-headed Luohan Buddha is depicted in the practical setting of washing clothes in the river. However, the painting itself is visually stunning, with Luohan depicted in rich detail and bright colors, blurred in contrast to the misty, brown, and bland environment. Also, the treetop is shrouded in a swirling mist, giving the general "negative space" mentioned above in East Asian Art.
In Japonism, the late 19th-century Post-Impressionists like Van Gogh and Henri de Toulouse-Lautrec, and tonalists like James McNeill Whistler, admired the early 19th century Japanese artists such as Hokusai (1760-1849) and Hiroshige (1797 - 1858) and influenced by them.
Chinese Painting
The earliest surviving examples of Chinese painting date to the Warring States Period (481 - 221 BC), with paintings on silk or mural graves in stone, brick, or stone. They are often in a simple-style format and in a more or less perfect geometry pattern. They often portray a mythological creature, a domestic scene, a labor scene, or a magnificent scene filled with officials in court. Artworks during this period and the subsequent Qin Dynasties (221 - 207 BC) and the Han Dynasty (202 BC - 220 AD) were made not as a means in and of itself or for higher personal expression; not works of art created to symbolize and honor burial ceremonies, representations of mythological gods or ancestral spirits, etc. Paintings on silk court officials and domestic scenes can be found during the Han Dynasty, along with scenes of people hunting on horses or taking part in military Parades. There are also paintings on three-dimensional artwork such as sculptures and sculptures, such as the original painted colors that cover the statues of soldiers and horses of the Terracotta Army. During the social and cultural climate of the Eastern Jin Dynasty (316 - 420 CE) headquartered in Nanjing in the south, the painting became one of the official entertainment of bureaucratic and aristocratic officials taught by Confucius (along with the music played by guqin zither, writing fantastic calligraphy , and writing and reading poetry). Painting becomes a common form of artistic self-expression, and during this period painters in court or among elite social circuits are judged and rated by their peers.
The establishment of a classical Chinese landscape painting is accredited mostly to East Jin Dynasty artist Gu Kaizhi (344 - 406 AD), one of the most famous artists in Chinese history. Like the long scroll scene of Kaizhi, the Tang Dynasty (618 - 907 AD) Chinese artists such as Wu Daozi painted clear and very detailed artwork on long horizontal handcrolls (very popular during Tang), such as Eighty-Seven Celestial People- people . The artwork painted during the Tang period relates to the idealized environmental landscape effect, with a rare number of objects, people, or activities, and monochromatic properties (eg Price Yide's tomb mural in the Qianling Mausoleum). There were also figures such as early Tang-era painters Zhan Ziqian, who painted remarkable landscapes far above his days in the depiction of realism. However, landscape art did not reach the level of maturity and greater realism in general until the period of Five Dynasties and Ten Kingdoms (907-960 AD). During this time, there are outstanding landscape painters like Dong Yuan (see this article for examples of his artwork), and those who paint depictions of clearer and more realistic domestic scenes, such as Gu Hongzhong and Night Revels of Han. Xizai .
During the Chinese Song dynasty (960 - 1279 AD), not only improved landscape art, but portraiture became more standardized and sophisticated than ever (for example, referring to Emperor Huizong Song), and reached its classical maturity during the Ming Dynasty (1368 - M). During the late 13th century and the first half of the 14th century, the Chinese under the Mongol-ruled Yuan dynasty were not allowed to enter higher-level government posts (reserved for Mongols or other ethnic groups from Central Asia), and Imperial stopped for now. Many Chinese-educated Confucians who now have no profession turn to art of painting and theater instead, since the Yuan period became one of the most vibrant and abundant periods for Chinese artwork. An example is Qian Xuan (1235-1305 AD), who is a Song dynasty official, but due to patriotism, refuses to serve Yuan court and dedicates himself to painting. Examples of great art from this period include rich and detailed mural paintings from the Yongle Palace, or "Longevity Dachunyang Palace", in 1262, a UNESCO World Heritage site. Inside the palace, the painting covers an area of ​​more than 1000 square meters, and holds most of the Taoist themes. During the Song dynasty the painters also gathered at social clubs or meetings to discuss their art or other people's artwork, a compliment that often led to persuasion to trade and sell valuable artwork. However, there are also many harsh criticisms of other people's artwork, pointing out the differences in style and taste among different painters. In 1088 AD, polymath scientist and statesman Shen Kuo once wrote about the artwork of one Li Cheng, which he criticized as follows:
... Then there is Li Cheng, who when he describes the pavilions and huts in the midst of mountains, multi-story buildings, pagodas and the like, is always used to paint the roof tiles as seen from below. The idea is that 'one must look up from under it, just as a man standing on flat ground and looking towards the roof of a pagoda can see his rafters and cantilever have rafters'. This is all wrong. In general the right way to paint a scene is to look at the small from a great point of view... like one sees artificial mountain in the garden (when one walks). If one applies (Li's method) to the actual mountain painting, looking down at them from the bottom, one can only see one profile at a time, and not the richness of the slopes and profiles of the multitude, to say nothing will happen. in valleys and canyons, on lanes and courtyards with their homes and homes. If we stand on the east of the mountain, its western part will be at the limit lost from a great distance, and vice versa. Surely this can not be called a successful painting? Li does not understand the principle of 'seeing the small from the point of view of the great man'. He is really remarkable in reducing altitude and distance accurately, but should someone emphasize the corners and corners of the building?
Although a high degree of stylization, mystical appeal, and surreal elegance are often preferred over realism (as in shan shui style), beginning with the medieval Song dynasty there were many Chinese painters later and later depicting real real-life scenes. Later, Ming Dynasty artists will take over the Song's dynasty emphasis for intricate detail and realism on objects in nature, especially in animal depictions (such as ducks, geese, sparrows, tigers, etc.) Among the bits of flowers bright colors and brush and wood bushes (a good example is the unknown Ming Dynasty Bird and Plum Flower , housed in the Smithsonian Freer Museum Gallery in Washington, DC). There are many famous artists of the Ming Dynasty; Qiu Ying is an excellent example of an important Ming-era painter (famous even in his own time), utilizing in his domestic art scene, magnificent magnificent scenery, and riverside scenery and steep mountain ranges that are shrouded in fog and swirling clouds. During the Ming Dynasty there were also various different artistic streams related to painting, such as Wu School and Zhe School.
The classical Chinese painting continued into the early modern Qing Dynasty, with a very realistic portrait painting as seen in the Ming Dynasty from the early 17th century. Portraits of Emperor Kangxi, Emperor Yongzheng, and Emperor Qianlong are excellent examples of realistic Chinese portrait paintings. During the ongoing reign of Qianlong and the 19th century, the European Baroque style of painting has a marked influence on Chinese portraits, especially with the visual effects of painted illumination and shadows. Likewise, East Asian paintings and other artworks (such as porcelain and varnish) are highly regarded in Europe since its early 16th-century contact.
Japanese paintings
Japanese painting (??) is one of Japan's oldest and most refined art, covering a variety of genres and styles. Like Japanese art in general, Japanese paintings evolved through a long history of synthesis and competition between the original Japanese aesthetics and the adaptation of imported ideas. Ukiyo-e, or "floating world image," is a Japanese woodblock print genre (or "woodcarving") and paintings produced between the 17th and 20th centuries, featuring landscape, theater, and prostitute districts. This is the main artistic genre of Japanese woodblock printing. Japanese graphic art, especially from the Edo period, had a profound effect on French painting during the 19th century.
Korean Painting
The Korean painting, as an independent form, began about 108 BC, around the fall of Gojoseon, making it one of the oldest in the world. The artwork of that time period evolved into various styles that characterize the Three Kingdoms Korean period, especially the paintings and wall paintings that adorn the tomb of the Goguryeo nobility. During the Three Kingdoms period and through the Goryeo dynasty, Korean paintings are characterized primarily by a combination of Korean-style landscapes, facial features, Buddhist-centered themes, and an emphasis on celestial observation facilitated by the rapid development of Korean astronomy. It was not until the Joseon dynasty that the Confucian theme began to take root in Korean paintings, used in harmony with the customary aspects.
The history of Korean paintings has been marked by the use of monochromatic works of brushstrokes, often on mulberry or silk paper. This style is evident in "Min-Hwa", or colorful folk art, grave paintings, and ritual art and festivals, both of which use extensive colors.
South Asian Paintings
Indian Painting
Indian paintings have historically revolved around the gods of religion and kings. Indian art is a collective term for several different artistic streams that exist in the Indian subcontinent. The paintings vary from Ajanta's great paintings to intricate Mughal miniature paintings to metal-decorated works from Tanjore's school. The paintings of Gandhar-Taxila are influenced by Persian works in the west. The style of Eastern painting is mostly developed around the Nalanda art school. These works are largely inspired by scenes from Indian mythology.
History
The earliest Indian paintings were prehistoric rock paintings, petroglyphs such as those found in places like Rock Shelters of Bhimbetka, and some of them older than 5500 BC. Such works continued and after several millennia, in the seventh century, the Ajanta carved pillars of the state of Maharashtra present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, come from minerals.
Ajanta Cave in Maharashtra, India is a stone cave monument dating from the 2nd century BC and contains paintings and sculptures that are considered Buddhist religious artwork and universal pictorial art.
- Madhubani painting
Madhubani painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India. The origins of Madhubani's paintings are shrouded in antiquity.
Rajput painting
Rajput painting, an Indian style of painting, evolved and flourished, during the 18th century, in Rajputana royal palace, India. Each Rajput kingdom evolved in different styles, but with certain general features. Rajput paintings describe a number of themes, epic events such as Ramayana and Mahabharata, Krishna's life, beautiful scenery, and humans. Miniature is a medium of Rajput's painting medium, but some manuscripts also contain Rajput's paintings, and paintings are even done on the walls of the castle, the rooms inside the castle, the havelies, in particular, the Shekhawait havelis.
Colors are taken from certain minerals, plant sources, seashells, and even obtained by processing precious stones, gold and silver are used. The desired color preparation is a long process, sometimes taking weeks. The brush used is very good.
Mughal Painting
Mughal paintings are a special style of Indian painting, generally limited to illustrations on books and performed in miniatures, and which appeared, developed and formed during the period of the 16th-century Mughal Empire of the 19th.
Tanjore's Paintings
Tanjore's painting is an important form of original indigenous South Indian painting to the town of Tanjore in Tamil Nadu. The art form dates from the early 9th century, a period dominated by the Chola rulers, who encouraged art and literature. These paintings are known for their elegance, rich color, and attention to detail. The theme for most of these paintings is the Hindu Gods and Goddesses and the landscape of Hindu mythology. In modern times, these paintings have become the most sought after souvenirs during festive occasions in South India.
The process of making Tanjore paintings involves many stages. The first stage involves making an initial sketch of the image on the base. The base consists of a cloth embedded on a wooden base. Then the lime or zinc oxide powder is mixed with a water-soluble adhesive and applied to the base. To create a finer base, light abrasives are sometimes used. Once the image is made, the decoration of the jewelry and the clothes in the picture is done with semi-precious stones. Ropes or threads are also used to decorate jewelry. On top of this, gold foil is inserted. Finally, the dye is used to add color to the figures in the painting.
Madras School
During the British rule in India, the crown found that Madras had the most talented and intellectual art minds in the world. As Britain has also established large settlements in and around Madras, Georgetown was chosen to establish an institute that will meet the artistic hopes of the royal family in London. This has been known as Madras School. At first, traditional artists were hired to produce a variety of fine furniture, metalwork, and antiques, and their work was sent to the royal palace of the Queen.
Unlike the Bengal School where 'copying' is the norm of teaching, Madras School thrives on 'creating' new styles, arguments and trends.
The Bengal School
The Bengal art school is an influential art style that flourished in India during the British Raj in the early 20th century. It was associated with Indian nationalism, but also promoted and supported by many British art administrators.
The Bengal School emerged as an avant garde and the nationalist movement reacted to an academic art style previously promoted in India, by Indian artists such as King Ravi Varma and in the British art school. Following the widespread influence of Indian spiritual ideas in the West, the English art teacher Ernest Binfield Havel sought to reform the teaching method at the Calcutta School of Art by encouraging students to emulate Mughal miniatures. This caused a great controversy, which led to student strikes and complaints from the local press, including from nationalists who regarded it as a step backward. Havel is supported by artist Abanindranath Tagore, the nephew of the poet Rabindranath Tagore. Tagore painted a number of works influenced by Mughal art, a style he and Havel believed to be expressive of the different spiritual qualities of India, as opposed to Western "materialism". The famous painting Tagore, Bharat Mata, describes a young woman, portrayed with four hands in the way of Hindu deities, holding symbolic objects of Indian national aspirations. Tagore then sought to develop relationships with Japanese artists as part of his aspirations to build a pan-Asianist art model.
The influence of Bengali Schools in India declined with the spread of modernist ideas in the 1920s. In the post-independence period, Indian artists demonstrated greater adaptability when they borrowed freely from European style and united freely with Indian motives to new art forms. While artists like Francis Newton Souza and Tyeb Mehta are more westward in their approach, there are others like Ganesh Pyne and Maqbool Fida Husain who develop a native work style thoroughly. Today after the process of market liberalization in India, artists are experiencing more exposure to the world of international art that helps them emerge with newer art forms that hitherto have not been seen in India. Jitish Kallat was famous in the late 1990s with his modern paintings and beyond the scope of the general definition. However, while artists in India in the new century try new styles, themes, and metaphors, it is impossible to get a quick recognition without the help of business houses that are now entering the art field as they have never done before..
Modern Indian paintings
Amrita Sher-Gil is an Indian painter, sometimes known as the Indian Frida Kahlo, and is today considered an important female painter from India in the 20th century, whose heritage is equivalent to the Masters of Bengal Renaissance; she is also the most expensive 'female' painter in India.
Today, he is among the Nine Masters, whose work was declared as art treasure by The Archaeological Survey of India, in 1976 and 1979, and more than 100 of his paintings are now displayed at the National Gallery of Modern Art, New Delhi.
During the colonial era, Western influence began to affect Indian art. Some artists develop a style that uses the idea of ​​Western composition, perspective, and realism to illustrate the Indian theme. Others, such as Jamini Roy, consciously draw inspiration from folk art.
At the time of Independence in 1947, several art schools in India provided access to modern techniques and ideas. The gallery was established to showcase these artists. Modern Indian art usually exhibits Western-style influences, but is often inspired by Indian themes and images. Major artists began gaining international recognition, originally among Indian diaspora, but also among non-Indian audiences.
The Progressive Artists' Group, established not long after India's independence in 1947, is meant to build new ways to express India in the post-colonial era. The founders are six prominent artists - K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and F. N. Souza, although the group was dissolved in 1956, it was very influential in changing the idiom of Indian art. Almost all the great Indian artists of 1950 were associated with the group. Some of those famous today are Bal Chabda, Manishi Dey, Mukul Dey, V. S. Gaitonde, Ram Kumar, Tyeb Mehta, and Akbar Padamsee. Other famous painters such as Jahar Dasgupta, Prokash Karmakar, John Wilkins, Narayanan Ramachandran, and Bijon Choudhuri enriched Indian art culture. They have become the icon of modern Indian art. Art historians such as Prof. Rai Anand Krishna also refer to the works of modern artists reflecting the Indian ethos. Geeta Vadhera has gained recognition in translating intricate Indian spiritual themes into canvas like Sufi thought, Upanishad, and Bhagwad Geeta.
Indian art got a boost with the liberalization of the country's economy since the early 1990s. Artists from various fields are now beginning to bring a variety of work styles. In post-liberalization India, many artists have established themselves in the international art market such as abstract painter Natvar Bhavsar, figurative artist Devajyoti Ray and Anish Kapoor sculptor whose post-mammoth art has gained attention due to its enormous size. Many art houses and galleries have also been opened in the United States and Europe to showcase Indian artwork.
Philippine Painting
The whole Philippines painting can be seen as a mixture of many cultural influences, although it tends to be more Western in its present form with Eastern roots.
Early Philippine paintings can be found in red slips (clay mixed with water) designs decorated in Filipino ritual pottery such as the famous Manunggul Jar. Proof of Philippine pottery dated from 6000 BC, has been found in the Sanga-Sanga Cave, Sulu and Laurente Caves, Cagayan. It has been proven that with 5000 Ã, BC, pottery is practiced all over the country. The early Filipinos started making pottery in front of their neighbors in Cambodia and at the same time as the Thai people as part of what seems to be a widespread development of pottery technology. Further evidence of the painting is embodied in the early Filipino tattoo tradition, which the Portuguese explorers refer to as the "Pintados" or the 'Painted People' of the Visayas. Various reference designs of flora and fauna with celestial bodies adorn their bodies in various colored pigmentation. Perhaps, some of the most elaborate paintings performed by early Filipinos surviving to this day can be manifested among the art and architecture of the famous Maranao with N? Ga Dragons and Sarimanok are carved and painted in beautiful Panolong. Torogan or their King's House.
The Filipinos began to make paintings in European traditions during the 17th century Spanish period. The earliest paintings of these paintings are church frescoes, religious images from biblical sources, as well as engravings, sculptures and lithography displaying Christian icons and European nobility. Most of the paintings and sculptures between the nineteenth and twentieth centuries resulted in a mixture of religious, political and landscape artwork, with sweet, dark, and bright qualities. Early modernist painters such as DamiÃÆ'¡n Domingo are associated with religious and secular paintings. The art of Juan Luna and FÃÆ'Ã… © lix Hidalgo shows a tendency for political statements. Artists like Fernando Amorsolo use post-modernism to produce paintings depicting Filipino culture, nature, and harmony. While other artists like Fernando ZÃÆ'³bel use reality and abstract in his work.
Southeast Asia
Western Painting
Egyptian, Greek, and RomanTo the north of Egypt was the Minoan civilization on the island of Crete. The frescoes found in Knossos palace resemble Egyptian paintings but are much freer in style. Around 1100 Ã, BC, the tribes of northern Greece conquered Greece and the Greek art took a new course.
Ancient Greeks had skilled painters, sculptors (though both attempts were considered mere manual labor at the time), and architects. Parthenon is an example of their architecture that has survived to modern times. The Greek marble statue is often described as the highest classical art form. Paintings on Ancient Greek pottery and ceramics provide a very informative picture of the way the society in Ancient Greece functioned. Black-vase vase and red-figure vase paintings give many examples of surviving Greek paintings. Some of the famous Greek painters in wooden panels mentioned in the text are Apelles, Zeuxis and Parrhasius, but there is no example of surviving Ancient Greek panel paintings, only written descriptions by contemporaries or later Romans. Zeuxis lives in 5-6 Ã, BC and is said to be the first to use sfumato. According to Pliny the Elder, the realism of his paintings is such that birds try to eat painted wine. Apelles is described as the best painter of Antiquity for the perfect technique in drawing, brilliant colors and modeling.
Roman art is influenced by the Greeks and some can be taken as ancient Greek descent paintings. However, Roman paintings do have important unique characteristics. The only surviving Roman painting is the frescoes, many of the villas in Campania, in Southern Italy. Such paintings can be grouped into 4 major "styles" or periods and may contain the first examples of trompe-l'oeil, pseudo perspective, and pure landscape. Almost the only surviving portrait painted portrait of the Ancient world is the large number of sculptural statues found in the Antique End of Al-Fayum cemetery. Although this is not the best period or the highest quality, they impress in themselves, and give an idea of ​​the qualities that the best old-fashioned job should have. A small number of miniatures from the illustrated Late Antique books also survive, and the number of copies is somewhat greater than in the Early Middle Ages.
Medieval
The rise of Christianity instilled a different spirit and aimed at painting styles. Byzantine art, after a style established in the 6th century, places great emphasis on maintaining traditional iconography and style, and gradually evolved over a thousand years of Byzantine Empire and a living tradition of icons of Greek and Russian Orthodoxy. Byzantine paintings have hieratic feelings and icons and are still seen as representations of divine revelation. There are many frescoes, but fewer survive from mosaics. Byzantine art has been compared with contemporary abstractions, in the flatness and depiction of highly stylized figures and landscapes. Some periods of Byzantine art, especially so-called Macedonian art around the 10th century, are more flexible in approach. Frescos of the Palaeologian Renaissance from the beginning of the 14th century survives in the Chora Church in Istanbul.
In post-Catholic Europe, the first distinctive artistic styles to emerge including paintings are the Insular art of the British Isles, where the only surviving example is the miniature in illuminated manuscripts such as the Book of Kells. These are best known for their abstract decorations, though numbers, and sometimes scenes, are also depicted, especially in evangelist portraits. Carolingian and Ottonian art also survive mostly in manuscripts, although some frescoes still exist, and many more are documented. Art of this period combines the influence of Insular and "barbarian" with strong Byzantine influence and aspirations to restore the classical monumentality and tranquility.
The walls of Roman and Gothic churches are adorned with frescoes and sculptures and many of the few remaining murals have great intensity, and incorporate the decorative energy of the art of the Insular with a new monumentality in the care of numbers. Much more miniature in the illuminated manuscripts that survive from that period, exhibiting the same characteristics, which continues into the Gothic period.
Painting panels became more common during the Romanesque period, under the heavy influence of Byzantine icons. By the middle of the 13th century, medieval art and Gothic painting became more realistic, with the beginnings of interest in portrayal of volumes and perspectives in Italy with Cimabue and then his student Giotto. From Giotto on, the composition treatment by the best painters also becomes much more free and innovative. They are regarded as two great medieval painting masters in western culture. Cimabue, in the Byzantine tradition, uses a more realistic and dramatic approach to his art. His pupil, Giotto, brought this innovation to a higher level which in turn set the foundation for the western painting tradition. Both artists are pioneers in the movement toward naturalism.
Churches are built with more windows and the use of colorful stained glass becomes a staple in decoration. One of the most famous examples of this is found in the cathedral of Notre Dame de Paris. In the 14th century richer and more trained Western societies and painters found new patrons in the nobility and even the bourgeoisie. The illuminated texts take on a new character and lean and fashionably dressed court ladies are displayed in their landscape. This style soon became known as international style painting and tempera panels and increasingly important altarpieces.
Renaissance and Mannerism
The Renaissance (the French for 'rebirth'), a cultural movement that roughly extends from the 14th to the mid-seventeenth century, heralds the study of classical sources, as well as advances in science that profoundly affect European intellectual and artistic life. In the Low Country, especially in modern Flanders, a new way of painting was established in the early 15th century. In the footsteps of development made in the illumination of manuscripts, especially by Limbourg Brothers, artists become fascinated by the real in the visible world and begin to represent objects in a very naturalistic way. The adoption of a traditional, but incorrectly credited, oil painting credited to Jan van Eyck enables a new similarity in describing this naturalism. The oil paint media is already in the work of Melchior Broederlam, but painters like Jan van Eyck and Robert Campin take their use to new heights and use them to represent the naturalism they are aiming for. With this new medium the painter of this period is able to create a richer color with a strong tone of voice. The illusion of glowing light with porcelain-like finish marked the early Netherlandish painting and a huge difference to the surface of matte tempera paint used in Italy. Unlike Italians, whose work is drawn from Ancient Greek and Roman art, northerners retained the remains of medieval sculpture and manuscripts (especially naturalism). The most important artist of the moment is Jan van Eyck, whose work is among the best made by an artist who is now known as the early Dutch painter or Flemish Primitives (as most artists are active in modern Flanders cities). The first painter of this period was the Master of FlÃÆ' Â © malle, now known as Robert Campin, whose work follows the International Gothic art. Another important painter of this period is Rogier van der Weyden, whose composition emphasizes human emotions and dramas, shown for example in the Descent from the Cross, which was among the most famous works of the fifteenth century and the most influential of the Netherland paintings about Christ's crucifixion. Other important artists of this period are Hugo van der Goes (whose work is very influential in Italy), Dieric Bouts (who was one of the first northern painters to demonstrate the use of a single point of vanishing), Peter Christus, Hans Memling and Gerard David.
In Italy, the art of Classical antiquity inspires a style of painting that emphasizes ideals. Artists such as Paolo Uccello, Masaccio, Fra Angelico, Piero della Francesca, Andrea Mantegna, Filippo Lippi, Sandro Botticelli, Leonardo da Vinci, Michelangelo Buonarroti and Raphael took paintings to a higher level through the use of perspective, the study of human anatomy and proportion, and through their development of an unprecedented refinement in drawing and painting techniques. A rather more naturalistic style appeared in Venice. Painters from Venetian schools, such as Giovanni Bellini, Giorgione, Titian, Tintoretto, and Veronese, are less concerned with precision in their images than with the richness of colors and unity of effects that can be achieved with a more spontaneous approach to painting.
The Flemish, Dutch and German painters of the Renaissance such as Hans Holbein the Younger, Albrecht DÃÆ'¼rer, Lucas Cranach, Matthias GrÃÆ'¼newald, Hieronym Bosch, and Pieter Bruegel represent a different approach from their Italian counterparts, who are more realistic and less than ideal. The genre of painting became a popular idiom among Northern painters such as Pieter Bruegel.
Renaissance paintings reflect the ideological and scientific revolutions (astronomy, geography) occurring in this period, the Reformation, and the invention of the printing press. DÃÆ'¼rer, regarded as one of the greatest art makers, states that painters are not just artists, but also thinkers. With the development of paintings of horses in the Renaissance, the paintings gained independence from architecture. Painting the horses - moving images that can be hung easily on walls - become a popular alternative to painting fixed on furniture, walls or other structures. After centuries dominated by religious imagery, secular subject matter slowly returns to Western paintings. Artists include the vision of the world around them, or the products of their own imagination in their paintings. Those who can afford the costs can become patrons and assign portraits of themselves or their families.
High Renaissance brings out a stylish art known as Mannerism. In place of a balanced composition and a rational approach to a perspective characterizing art in the early 16th century, Manneris seeks instability, intelligence, and doubt. The unimpeded faces and gestures of Piero della Francesca and the restful Virgin Raphael were replaced by the troubled expression of Pontormo and the emotional intensity of El Greco. Unstable and unstable compositions, often extreme or distorted perspective effects, and stylish poses are characteristic of Italian Mannerist such as Tintoretto, Pontormo, and Bronzino, and appear later in Northern Manneris such as Hendrick Goltzius, Bartholomeus Spranger, and Joachim Wtewael.
Baroque and Rococo
Baroque paintings are associated with the Baroque cultural movement, a movement often identified with the Absolutism and Reform or the Catholic Revolution; The existence of important Baroque paintings in non-absolutist and Protestant countries also, however, underscores its popularity, as style spread throughout Western Europe.
Baroque painting is characterized by great drama, rich, deep colors, and intense light and dark shadows. Baroque art is meant to evoke emotion and passion instead of the quiet rationality that has been cherished during the Renaissance. During the early period of about 1600 and continuing throughout the 17th century, the paintings were marked as Baroque. Among the greatest Baroque artists are Caravaggio, Rembrandt, Frans Hals, Rubens, Velázquez, Poussin, and Johannes Vermeer. Caravaggio is the heir of the High Renaissance humanist painting. His realistic approach to human figures, painted directly from life and dramatically highlighting dark backgrounds, shocked his contemporaries and opened a new chapter in the history of painting. Baroque paintings often dramatize scenes using light effects; this can be seen in the works of Rembrandt, Vermeer, Le Nain, La Tour, and Jusepe de Ribera.
In Italy, the Baroque style is symbolized by mythological and mythological paintings at Grand Manner by artists such as Carracci, Guido Reni, and Luca Giordano. The painting of an illusionist church ceiling by Pietro da Cortona seems to be open to the heavens. A quieter Baroque type appeared in the Republic of the Netherlands, where horseshoe painting of everyday subjects was popular among middle-class collectors, and many painters became specialists in the genre, others in landscapes or seascapes or still alive. Vermeer, Gerard ter Borch, and Pieter de Hooch brought good technical improvements to the domestic scene painting, as did Willem Claesz. Heda to stay alive. Instead, Rembrandt excelled in painting every type of subject, and developed an individual style of painters in which chiaroscuro and dark backgrounds originating from Caravaggio and Caravaggio Utrecht lost their theatrical quality.
During the 18th century, Rococo followed a mild extension of the Baroque, often reckless and erotic. Rococo developed the first in decorative art and interior design in France. Louis XV's succession brought changes to the palace artists and general artistic styles. The 1730s represent the peak of Rococo's development in France exemplified by the works of Antoine Watteau and Fran秧ois Boucher. Rococo still retains Baroque flavors for complex shapes and intricate patterns, but at this point, it begins to integrate various diverse characteristics, including a taste for Oriental design and asymmetrical composition.
Rococo style is spread with French artists and engraved publications. It is easily accepted in the German, Bohemian and Austrian Catholic sections, where it joins the living German Baroque tradition. The German Rococo is enthusiastically applied to churches and palaces, especially in the south, while Frederician Rococo is developed in the Kingdom of Prussia.
The Frenchmen Watteau, Boucher and Fragonard represented the style, as did Giovanni Battista Tiepolo and Jean-Baptiste-Simà ©  © in Chardin which were considered by some as the best French 18th-century French painter - Anti-Rococo. Portrait is an important component of painting in all countries, especially in England, where its leaders are William Hogarth, in a blunt realist style, and Francis Hayman, Angelica Kauffman (who is Swiss), Thomas Gainsborough and Joshua Reynolds in a more flattering style. influenced by Anthony van Dyck. In France during the Rococo era Jean-Baptiste Greuze (favorite painter Denis Diderot), excels in portraits and history, and Maurice Quentin de La Tour and ÃÆ'â € lisabeth Vigà © © e-Lebrun is an accomplished portrait painter. La Tour specializes in pastel painting, which became a popular medium during this period.
William Hogarth helped to develop the theoretical foundation for Rococo's beauty. Though not deliberately referring to movements, he argues in his book Analysis of Beauty (1753) that the wavy lines and prominent S curves in Rococo are the basis for elegance and beauty in art or nature (unlike straight lines or circles in Classicism). The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-FranÃÆ'§§ois Blondel began voicing their criticism of the superficiality and art degeneration. Blondel denounced "a spate of shells, dragons, reeds, palm trees and plants" that is ridiculous in contemporary interiors.
Pada 1785, Rococo telah keluar dari mode di Perancis, digantikan oleh ketertiban dan keseriusan seniman Neoklasik seperti Jacques-Louis David.
Abad ke-19: Neo-klasisisme, Lukisan sejarah, Romantisisme, Impresionisme, Post-Impresionisme, Simbolisme
After Rococo emerged in the late 18th century, in architecture, and later in the painting of severe neo-classism, best represented by artists such as David and his Ingres heir. Ingres's work already contains a lot of sensuality, but no spontaneity, which characterizes Romanticism. This movement distracts the landscape and nature and human figures and the supremacy of the natural order above the will of man. There is a philosophy of pantheism
Source of the article : Wikipedia
0 Comments