Western painting
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- See also: Western art, History of painting, Western art history, History of art, Art history, Painting, and Outline of painting history
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The history of Western painting represents a continuous, though disrupted, tradition from antiquity.[2] Until the mid 19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor.[3]
Developments in Western painting historically parallel those in Eastern painting, in general a few centuries later.[4] African art, Islamic art, Indian art,[5] Chinese art, and Japanese art[6] each had significant influence on Western art, and, eventually, vice-versa.[7]
Initially serving imperial, private, civic, and religious patronage, Western painting later found audiences in the aristocracy and the middle class. From the Middle Ages through the Renaissance painters worked for the church and a wealthy aristocracy. [8]Beginning with the Baroque era artists received private commissions from a more educated and prosperous middle class. [9] By the mid-19th century painters became liberated from the demands of their patronage to only depict scenes from religion, mythology, portraiture or history. The idea "art for art's sake"[10] began to find expression in the work of the Romantic painters like Francisco de Goya, John Constable, and J.M.W. Turner. [11] During the 19th century the rise of the commercial art gallery provided patronage in the 20th Century.[12][13][14]
Western painting reached its zenith in Europe during the Renaissance, in conjunction with the refinement of drawing, use of perspective, ambitious architecture, tapestry, stained glass, sculpture, and the period before and after the advent of the printing press.[15] Following the depth of discovery and the complexity of innovations of the Renaissance the rich heritage of Western painting (from the Baroque to Contemporary art) continues into the 21st century. [16]
[edit] Pre-history
- See also: Prehistoric art
 Spanish cave painting of Bulls |
 Petroglyphs, from Sweden, Nordic Bronze Age (painted) |
 Pictographs from the Great Gallery, Canyonlands National Park, Horseshoe Canyon, Utah, c. 1500 BCE |
The history of painting reaches back in time to artifacts from pre-historic humans, and spans all cultures. 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 paintings all over the world—in France, India, Spain, Portugal, China, Australia etc. There are many common themes throughout the many different places that the paintings have been found; implying the universality of purpose and similarity of the impulses that might have created the imagery. Various conjectures have been made as to the meaning these paintings had to the people who 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 may be recordings of the life experiences of the artists and related stories from the members of their circle.
[edit] Western painting
[edit] Egypt, Greece and Rome
Also see Ancient art
 Ancient Egypt, Queen Nefertari |
 Ancient Egypt, papyrus |
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 Boy from Al-Fayum, 2nd century. |
Ancient Egypt, a civilization with strong traditions of architecture and sculpture (both originally painted in bright colours), had many mural paintings in temples and buildings, and painted illustrations on papyrus manuscripts. 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. 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.
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 those of the Egyptians but much more free in style.
Around 1100 B.C., tribes from the north of Greece conquered Greece and its art took a new direction. The culture of Ancient Greece is noteworthy for its outstanding contributions to the visual arts. Painting on pottery of Ancient Greece and ceramics gives a particularly informative glimpse into the way society in Ancient Greece functioned. Many fine examples of Black-figure vase painting and Red-figure vase painting still exist. Some famous Greek painters who worked on wood panels and are mentioned in texts are Apelles, Zeuxis and Parrhasius; however, with the single exception of the Pitsa panels, no examples of Ancient Greek panel painting survive, only written descriptions by their contemporaries or later Romans. Zeuxis lived in the 5th century 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 antiquity, and is noted for perfect technique in drawing, brilliant color, and modeling.
Roman art was influenced by Greece and can in part be taken as descendant from Ancient Greek painting. However, Roman painting does have important unique characteristics. Almost all surviving Roman works are wall paintings, many from villas in Campania, in Southern Italy. Such painting can be grouped into four main "styles" or periods[17] and may contain the first examples of trompe-l'oeil, pseudo-perspective, and pure landscape.[18] Almost the only painted portraits surviving from the Ancient world are a large number of Mummy Portraits of bust form found in the Late Antique cemetery of Al-Fayum. Although these were neither of the best period nor the highest quality,[citation needed] they are impressive in themselves, and suggest the quality of the finest ancient work. A very small number of miniatures from Late Antique illustrated books also survive, as well as a rather larger number of copies of them from the Early Medieval period.
[edit] Middle Ages
 Cotton Genesis A miniature of Abraham Meeting Angels |
 Byzantine icon, 6th century |
 Byzantine art mosaics in Ravenna |
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 Yaroslavl Gospels c. 1220s |
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 Carolingian Saint Mark |
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 Rogier van der Weyden(c.1435) |
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 gradualaly evolved during the thousand years of the Byzantine Empire and the living traditions of Greek and Russian Orthodox icon-painting. Byzantine painting has a hieratic feeling and icons were and still are seen as a representation of divine revelation. There were many frescos, but fewer of these have survived than mosaics. Byzantine art has been compared to contemporary abstraction, in its flatness and highly stylised depictions of figures and landscape. Some periods of Byzantine art, especially the so-called Macedonian art of around the 10th century, are more flexible in approach. Frescos of the Palaeologian Renaissance of the early c14th survive in the Chora Church in Istanbul.
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)[citation needed] are miniatures in Illuminated manuscripts 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 portraits. 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 and 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 manuscripts survive from the period, showing the same characteristics, which continue into the Gothic period.
Panel painting becomes more common during the 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 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.
[edit] Renaissance and Mannerism
 Masaccio The Expulsion Of Adam and Eve from Eden, before and after restoration |
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The Renaissance (French for 'rebirth'), a cultural movement roughly spanning the 14th through the mid 17th century, heralded the study of classical sources, as well as advances in science which profoundly influenced European intellectual and artistic life. 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, 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 represent a different approach from their Italian colleagues, one that is more realistic and less idealized. Genre painting became a popular idiom amongst the Northern painters like Pieter Bruegel. 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), made possible a new verisimilitude in depicting reality. 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.
Renaissance painting reflects the revolution of ideas and science (astronomy, geography) that occurred 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 artisans but thinkers 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 16th century, movable pictures which could be hung easily on walls, rather than paintings affixed to permanent structures, came into popular demand .[19]
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.
[edit] Baroque and Rococo
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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, Rubens, Velázquez, Poussin, and Vermeer. Caravaggio is an heir of the humanist painting of the High Renaissance. His 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 chiaroscuro light effects; this can be seen in works by Rembrandt, Vermeer, Le Nain and La Tour. The Flemish painter Antony Van Dyck developed a graceful but imposing portrait style that was very influential, especially in England.
The prosperity of seventeenth century Holland led to an enormous production of art by large numbers of painters who were mostly highly specialised and painted only genre scenes, landscapes, Still-lifes, portraits or History paintings. Technical standards were very high, and Dutch Golden Age painting established a new repertoire of subjects that was very influential until the arrival of Modernism.
During the 18th century, Rococo followed as a lighter extension of Baroque, often frivolous and erotic. The French masters Watteau, Boucher and Fragonard represent the style, as do Giovanni Battista Tiepolo and Jean-Baptiste-Siméon Chardin who was considered by some as the best French painter of the 18th century - the Anti-Rococo. Portraiture was an important component of painting in all countries, but especially in England, where the leaders were William Hogarth in a blunt realist style, and Thomas Gainsborough and Joshua Reynolds in more flattering styles influenced by Van Dyck.
[edit] 19th century: Neo-classicism, Romanticism, Impressionism, Post Impressionism, Symbolism
also see main articles Neoclassicism, Romanticism, Impressionism, Post Impressionism, Symbolism
 Jacques-Louis David 1787 |
 John Constable 1802 |
 Eugène Delacroix, 1830 |
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 Francisco de Goya 1814 |
 Théodore Géricault 1819 |
 Caspar David Friedrich c.1822 |
 J. M. W. Turner 1838 |
 Gustave Courbet 1849-1850 |
 Albert Bierstadt 1886 |
 Camille Corot c.1867 |
 Claude Monet 1872 |
 Edgar Degas 1876 |
 Édouard Manet 1882 |
 Vincent van Gogh 1888 |
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 Paul Gauguin 1897-1898 |
 Georges Seurat 1884-1886 |
 Winslow Homer 1899 |
 Paul Cézanne 1906 |
After Rococo there arose in the late 18th century, in architecture, and then in painting severe neo-classicism, best represented by such artists as David and his heir 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 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.
By the mid-19th century painters became liberated from the demands of their patronage to only depict scenes from religion, mythology, portraiture or history. The idea "art for art's sake" began to find expression in the work of painters like Francisco de Goya, John Constable, and J.M.W. Turner. Romantic painters turned landscape painting into a major genre, considered until then as a minor genre or as a decorative background for figure compositions. Some of the major painters of this period are Eugène Delacroix, Théodore Géricault, J. M. W. Turner, Caspar David Friedrich and John Constable. Francisco de Goya's late work demonstrates the Romantic interest in the irrational, while the work of Arnold Böcklin evokes mystery and the paintings of Aesthetic movement artist James McNeill Whistler evoke both sophistication and decadence. In the United States the Romantic tradition of landscape painting was known as the Hudson River School:[20] exponents include Thomas Cole, Frederic Edwin Church, Albert Bierstadt, Thomas Moran, and John Frederick Kensett. Luminism was a movement in American landscape painting related to the Hudson River School.
The leading Barbizon School painter Camille Corot painted in both a romantic and a realistic vein; his work prefigures Impressionism, as does the paintings of Eugène Boudin who was one of the first French landscape painters to paint outdoors. Boudin was also an important influence on the young Claude Monet, whom in 1857 he introduced to Plein air painting. A major force in the turn towards Realism at mid-century was Gustave Courbet. In the latter third of the century Impressionists like Édouard Manet, Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Mary Cassatt, and Edgar Degas worked in a more direct approach than had previously been exhibited publicly. They eschewed allegory and narrative in favor of individualized responses to the modern world, sometimes painted with little or no preparatory study, relying on deftness of drawing and a highly chromatic pallette. Manet, Degas, Renoir, Morisot, and Cassatt concentrated primarily on the human subject. Both Manet and Degas reinterpreted classical figurative canons within contemporary situations; in Manet's case the re-imaginings met with hostile public reception. Renoir, Morisot, and Cassatt turned to domestic life for inspiration, with Renoir focusing on the female nude. Monet, Pissarro, and Sisley used the landscape as their primary motif, the transience of light and weather playing a major role in their work. While Sisley most closely adhered to the original principals of the Impressionist perception of the landscape, Monet sought challenges in increasingly chromatic and changeable conditions, culminating in series of monumental works, and
Pissarro adopted some of the experiments of Post-Impressionism. Slightly younger Post-Impressionists like Vincent van Gogh, Paul Gauguin, and Georges Seurat, along with Paul Cézanne led art to the edge of modernism; for Gauguin Impressionism gave way to a personal symbolism; Seurat transformed Impressionism's broken color into a scientific optical study, structured on frieze-like compositions; Van Gogh's turbulent method of paint application, coupled with a sonorous use of color, predicted Expressionism and Fauvism, and Cézanne, desiring to unite classical composition with a revolutionary abstraction of natural forms, would come to be seen as a precursor of 20th century art. The spell of Impressionism was felt throughout the world, including in the United States, where it became integral to the painting of American Impressionists such as Childe Hassam, John Twachtman, and Theodore Robinson. It also exerted influence on painters who were not primarily Impressionistic in theory, like the portrait and landscape painter John Singer Sargent. At the same time in America at the turn of the century there existed a native and nearly insular realism, as richly embodied in the figurative work of