What is painting?
Painting is a view fine arts, whose works are created using paints applied to any surface.
“Painting is not just some kind of fantasy. It is work, work that must be done conscientiously, as every conscientious worker does,” Renoir argued.
Painting is an amazing miracle of transforming accessible artistic materials into a variety of visible images of reality. Mastering the art of painting means being able to depict real objects of any shape, different color and material in any space.
Painting, like all other forms of art, has a special artistic language, through which the artist reflects the world. But, expressing his understanding of the world, the artist simultaneously embodies his thoughts and feelings, aspirations, aesthetic ideals in his works, evaluates the phenomena of life, explaining their essence and meaning in his own way.
IN works of art different genres of fine art created by painters use drawing, color, light and shade, expressiveness of strokes, texture and composition. This makes it possible to reproduce on a plane the colorful richness of the world, the volume of objects, their qualitative material originality, spatial depth and light-air environment.
The world of painting is rich and complex, its treasures have been accumulated by humanity over many millennia. The most ancient works of painting were discovered by scientists on the walls of caves in which they lived primitive people. The first artists depicted hunting scenes and animal habits with amazing accuracy and sharpness. This is how the art of painting on the wall arose, which had features characteristic of monumental painting.
There are two main types of monumental painting - fresco and mosaic.
Fresco is a technique of painting with paints diluted with clean or lime water on fresh, damp plaster.
Mosaic is an image made of particles of stone, smalt, ceramic tiles, homogeneous or different in material, which are fixed in a layer of soil - lime or cement.
Fresco and mosaic are the main types of monumental art, which, due to their durability and color fastness, are used to decorate architectural volumes and planes (wall paintings, lampshades, panels).
Easel painting (picture) has an independent character and meaning. Breadth and completeness of coverage real life is reflected in the diversity of types and genres inherent in easel painting: portrait, landscape, still life, everyday, historical, battle genres.
Unlike monumental painting, easel painting is not connected to the plane of the wall and can be freely exhibited.
Ideological artistic value works of easel art do not change depending on the place where they are located, although their artistic sound depends on the conditions of exposure.
In addition to the above types of painting, there are decorative paintings - sketches theatrical scenery, scenery and costumes for cinema, as well as miniatures and iconography.
To create a miniature work of art or a monumental one (for example, a painting on a wall), the artist must know not only the constructive essence of objects, their volume, materiality, but also the rules and laws of the pictorial representation of nature, the harmony of color, and color. 
In a pictorial image from nature, it is necessary to take into account not only the variety of colors, but also their unity, determined by the strength and color of the light source. No spot of color should be introduced into the image without matching it with the overall color state. The color of each object, both in light and in shadow, must be related to the color whole. If the colors of the image do not convey the influence of the color of the lighting, they will not be subject to a single color scheme. In such an image, each color will stand out as something extraneous and alien to a given state of illumination; it will appear random and ruin the color integrity of the image.
Thus, the natural color unification of paints by the general color of lighting is the basis for creating a harmonious color structure of the picture.
Color is one of the most expressive means used in painting. The artist conveys on the plane the colorful richness of what he saw, using color form to cognize and reflect the world around him. In the process of depicting nature, a sense of color and its many shades develops, which allows the use of paints as the main means of expression painting.
The perception of color, and the artist's eye is able to distinguish more than 200 of its shades, is perhaps one of the happiest qualities that nature has endowed man with.
Knowing the laws of contrast, the artist navigates those changes in the color of the depicted nature, which in some cases are difficult to catch by the eye. The perception of color depends on the environment in which the object is located. Therefore, the artist, when conveying the color of nature, compares the colors with each other, ensuring that they are perceived in interconnection or mutual relations.
“Taking light-and-shadow relationships” means preserving the difference between colors in lightness, saturation and hue, according to how it occurs in nature. 
Contrast (both in light and color) is especially noticeable on the edges of adjacent color spots. The blurring of the boundaries between contrasting colors enhances the effect of color contrast, and the clarity of the boundaries of the spots reduces it. Knowledge of these laws expands technical capabilities in painting, allows the artist, with the help of contrast, to increase the intensity of the color of paints, increase their saturation, increase or decrease their lightness, which enriches the painter’s palette. Thus, without using mixtures, but only contrasting combinations of warm and cold colors, you can achieve a special coloristic sonority of the painting.
The word “painting” comes from the Russian words “live” and “write”, resulting in the phrase “living letter”. Painting means an image of the real world, drawn using improvised materials (pencils, paints, plasticine, etc.) on flat surfaces. We can say that the projection of the real world through the prism of the artist’s imagination is also
Types of painting
This is replete with a variety of types and techniques for depicting reality, which depend not only on the technique of execution of the artist’s work and the materials used, but also on the content and semantic message of creativity. In order to convey feelings, emotions and thoughts, the artist first of all uses the rules of playing with color and light: the relationship of color shades and the play of highlights and shadows. Thanks to this secret, the paintings turn out to be truly alive.
To achieve this effect, you need to skillfully use colorful materials. Therefore, painting, the types of which depend on the drawing technique and types of paint, can use watercolor, oil, tempera, pastel, gouache, wax, acrylic, etc. It all depends on the desire of the artist.
In the fine arts there are the following main types of painting:
1. Monumental painting. The very name of this type of art suggests that the creation will live for many centuries. This type implies a symbiosis of architecture and fine art. Monumental painting can most often be seen in religious temples: these are painted walls, vaults, arches and ceilings. When the drawing and the building itself become one, such works have deep meaning and carry global cultural value. Frescoes more often fall under this type of painting. As a rule, they are made not only with paints, but also with ceramic tiles, glass, colored stones, shell rock, etc.
2. Easel painting. Types of such fine art are very common and accessible to any artist. For painting to be considered easel, the creator will need a canvas (easel) and a frame for it. Thus, the painting will be independent in nature, and it makes no difference where and in what architectural structure it is located.
3. The types and forms of expression of creativity are limitless, and this type of art can serve as proof. has existed for thousands of years: these are home decorations, painting dishes, creating souvenirs, painting fabrics, furniture, etc. The essence of creativity is that the object and the design on it become one whole. It is considered bad taste when an artist depicts a completely inappropriate design on an object.
4. implies visual design for theatrical performances, as well as cinema. This type of art allows the viewer to more accurately understand and accept the image of a play, performance or film.
Genres of painting
In the theory of art, it is also important to distinguish between genres of painting, each of which has its own characteristics:
Portrait.
Still life.
Iconography.
Animalism.
Story.
These are the main ones that have existed for a long time in the history of art. But progress does not stand still. Every year the list of genres grows and increases. Thus, abstraction and fantasy, minimalism, etc. appeared.
Painting is one of the ancient arts, which over the course of many centuries has undergone an evolution from Paleolithic rock paintings to the latest trends of the 20th and even 21st centuries. This art was born almost with the advent of humanity. Ancient people, without even fully realizing themselves as humans, felt the need to depict the world around them on the surface. They painted everything they saw: animals, nature, hunting scenes. For painting they used something similar to paints made from natural materials. These were earth paints, charcoal, black soot. Brushes were made from animal hair, or they were simply painted with fingers.
As a result of the changes, new types and genres of painting arose. The ancient period was followed by the period of Antiquity. There was a desire among painters and artists to reproduce the real life around us, as it appears to humans. The desire for accuracy of transmission caused the emergence of the foundations of perspective, the foundations of light and shadow constructions of various images and the study of this by artists. And they, first of all, studied how to depict volumetric space on the plane of a wall, in fresco painting. Some works of art, such as volumetric space, chiaroscuro, began to be used to decorate rooms, religious centers and burials.
The next important period in the past of painting is the Middle Ages. At this time, painting was more religious in nature, and the worldview began to be reflected in the art. The creativity of artists was aimed at icon painting and other melodies of religion. Main important points, which the artist had to emphasize, was not so much an accurate reflection of reality, but rather a transfer of spirituality even in the most diverse paintings. The canvases of the masters of that time amazed with their expressiveness of contours, color and colorfulness. Medieval painting seems flat to us. All the characters of the artists of that time are on the same line. And therefore many works seem to us somewhat stylized.
The period of the gray Middle Ages was replaced by the brighter period of the Renaissance. The Renaissance again brought a turning point in the historical development of this art. New moods in society, a new worldview began to dictate to the artist what aspects of painting to reveal more fully and clearly. Painting genres such as portrait and landscape will become independent styles. Artists express the emotions of man and his inner world through new ways of painting. The 17th and 18th centuries saw an even more significant growth in painting. During this period, the Catholic Church loses its significance, and artists in their works increasingly reflect the true views of people, nature, everyday life. During this period, genres such as baroque, rococo, classicism, and mannerism were also formed. Romanticism emerges, which is later replaced by a more spectacular style - impressionism.
At the beginning of the twentieth century, painting changed dramatically and a new direction of modern art appeared - abstract painting. The idea of this direction is to convey agreement between man and art, to create harmony in combinations of lines and color highlights. This is art without objectivity. She does not pursue an accurate rendering of a real image, but on the contrary, she conveys what is in the artist’s soul, his emotions. Shapes and colors play an important role in this art form. Its essence is to convey previously familiar objects in a new way. Here artists are given complete freedom of their imaginations. This gave impetus to the emergence and development modern trends such as avant-garde, underground, abstract art. From the end of the twentieth century to the present day, painting has been constantly changing. But, despite all the new achievements and modern technologies, the artists still remain faithful to classical art - oil and watercolor painting, create their masterpieces using paints and canvases.
Natalia Martynenko
History of fine arts
The history of painting is an endless chain that began with the very first paintings made. Each style grows out of the styles that came before it. Every great artist adds something to the achievements of earlier artists and influences later artists.
We can enjoy painting for its beauty. Its lines, shapes, colors and composition (arrangement of parts) can appeal to our senses and linger in our memories. But the enjoyment of art increases when we learn when and why and how it was created.
The history of painting has been influenced by many factors. Geography, religion, national characteristics, historical events, the development of new materials - all this helps shape the artist's vision. Throughout history, painting has reflected the changing world and our ideas about it. In turn, artists have provided some of the best records of the development of civilization, sometimes revealing more than the written word.
Prehistoric painting
Cave dwellers were the most early artists. Colored drawings of animals dating from 30,000 to 10,000 BC have been found on cave walls in southern France and Spain. Many of these paintings are remarkably well preserved because the caves were sealed for many centuries. Early people drew pictures of the wild animals they saw around them. Very crude human figures made in life positions have been found in Africa and eastern Spain.
Cave artists filled the cave walls with drawings in rich, vibrant colors. Some of the most beautiful paintings are in the Altamira Cave, in Spain. One detail shows a wounded buffalo, no longer able to stand - likely the victim of a hunter. It is painted in a reddish brown color and is outlined simply, but skillfully, in black. The pigments used by cave artists are ocher (iron oxides ranging in color from light yellow to dark orange) and manganese (a dark metal). They were ground into a fine powder, mixed with a lubricant (possibly fatty oil), and applied to the surface with some kind of brush. Sometimes the pigments took the form of sticks, similar to crayons. Fat mixed with powdered pigments made a paint liquid, and the pigment particles stuck together. The cave dwellers made brushes from animal hairs or plants, and sharp tools from silicon (for drawing and scratching).
As early as 30,000 years ago, people invented the basic tools and materials for painting. Methods and materials were refined and improved over the following centuries. But the discoveries of the cave dweller remain fundamental to painting.
Egyptian and Mesopotamian painting (3400–332 BC)
One of the first civilizations appeared in Egypt. Much is known about their lives from written records and art left by the Egyptians. They believed that the body should be preserved so that the soul could live after death. The Great Pyramids were elaborate tombs for wealthy and powerful Egyptian rulers. Much Egyptian art was created for the pyramids and tombs of kings and other important people. To be absolutely sure that the soul would continue to exist, artists created images of a dead person in stone. They also reproduced scenes from human life in wall paintings in burial chambers.
Egyptian art techniques have remained unchanged for centuries. In one method, watercolor paint was applied to clay or limestone surfaces. In another process, outlines were carved into stone walls and painted with watercolors. A material called gum arabic was probably used to adhere the paint to the surface. Fortunately, the dry climate and sealed tombs prevented some of these watercolor paintings deteriorate from dampness. Many hunting scenes from tomb walls at Thebes, dating from around 1450 BC, are well preserved. They show how hunters chase birds or fish. These subjects can still be identified today because they were carefully and carefully painted.
The Mesopotamian civilization, which lasted from 3200 to 332 BC, was located in the valley between the Tigris and Euphrates rivers in the Middle East. Houses in Mesopotamia were built mainly from clay. As the clay is softened by rain, their buildings crumbled into dust, destroying any wall paintings that might have been very interesting. What survives are decorated pottery (painted and fired) and colorful mosaics. Although mosaics cannot be considered painting, they often influence it.
Aegean civilization (3000–1100 BC)
The third great early culture there was an Aegean civilization. The Aegeans lived on the islands off the coast of Greece and on the peninsula of Asia Minor at about the same time as the ancient Egyptians and Mesopotamians.
In 1900, archaeologists began excavating the palace of King Minos at Knossos on the island of Crete. Excavations have uncovered works of art painted around 1500 BC. in the unusually free and graceful style of the time. Apparently the Cretans were a carefree, nature-loving people. Among their favorite subjects in art were sea life, animals, flowers, sports games, mass processions. At Knossos and other Aegean palaces, paintings were done on wet plaster walls using paints made from mineral substances, sand and earthen ochres. The paint soaked into the wet plaster and became a permanent part of the wall. These paintings were later called frescoes (from the Italian word for "fresh" or "new"). Cretans liked bright yellow, red, blue and green colors.
Greek and Roman classical painting (1100 BC – 400 AD)
The ancient Greeks decorated the walls of temples and palaces with frescoes. From ancient literary sources and from Roman copies of Greek art, it can be said that the Greeks painted small pictures and made mosaics. The names of the Greek masters and little of their lives and works are known, although very little Greek painting survived the centuries and the aftermath of wars. The Greeks did not write much in tombs, so their works were not protected.
Painted vases are all that remains of Greek painting today. Pottery making was a large industry in Greece, especially in Athens. Containers were in great demand, exported, as well as oil and honey, and for domestic purposes. The earliest vase painting was done in geometric shapes and ornaments (1100-700 BC). The vases were also decorated with human figures in brown glaze on light clay. By the 6th century, vase artists often painted black human figures on natural red clay. The details were carved into clay with a sharp tool. This allowed the red to appear in the depths of the relief.
The red-figure style eventually replaced the black one. That is, vice versa: the figures are red, and the background is black. The advantage of this style was that the artist could use a brush to create outlines. The brush produces a looser line than the metal tool used on black figured vases.
Roman wall paintings have been found mainly in villas ( country houses) in Pompeii and Herculaneum. In 79 AD, these two cities were completely buried by the eruption of Mount Vesuvius. Archaeologists who excavated the area were able to learn a lot about ancient Roman life from these cities. Almost every house and villa in Pompeii had paintings on the walls. Roman painters carefully prepared the surface of the wall by applying a mixture of marble dust and plaster. They polished the surfaces to a marble finish. Many of the paintings are copies of Greek paintings from the 4th century BC. The graceful poses of the figures painted on the walls of the Villa of the Mysteries in Pompeii inspired artists in the 18th century when the city was excavated.
The Greeks and Romans also painted portraits. A small number of them, mostly mummy portraits done in the Greek style by Egyptian artists, survive around Alexandria, in northern Egypt. Founded in the 4th century BC by Alexander the Great of Greece, Alexandria became a leading center of Greek and Roman culture. The portraits were painted using the encaustic technique on wood and installed in the form of a mummy after the death of the person depicted. Encaustic paintings made with paint mixed with melted beeswax last a very long time. Indeed, these portraits still look fresh even though they were taken back in the second century BC.
Early Christian and Byzantine painting (300–1300)
The Roman Empire declined in the 4th century AD. At the same time, Christianity was gaining strength. In 313, the Roman Emperor Constantine officially recognized the religion and himself converted to Christianity.
The emergence of Christianity greatly influenced art. Artists were commissioned to decorate the walls of churches with frescoes and mosaics. They made panels in church chapels, illustrated and decorated church books. Under the influence of the Church, artists were expected to communicate the teachings of Christianity as clearly as possible.
Early Christians and Byzantine artists continued the mosaic technique they learned about from the Greeks. Small flat pieces of colored glass or stone were set on wet cement or plaster. Sometimes other hard materials were used, such as pieces of baked clay or shells. In Italian mosaic the colors are especially deep and full. Italian artists made the background with pieces of gilded glass. They depicted human figures in rich colors against a background of sparkling gold. The overall effect was flat, decorative and not realistic.
The mosaics of Byzantine artists were often even less realistic and even more decorative than the motifs of the early Christians. "Byzantine" is the name given style art that developed around ancient city Byzantium (now Istanbul, Türkiye). The mosaic technique was ideally suited to Byzantine taste for magnificently decorated churches. The famous mosaics of Theodora and Justinian, made around 547 AD, demonstrate a taste for wealth. Jewelry the figures glitter, and the colored court dresses sparkle against a background of glittering gold. Byzantine artists also used gold on frescoes and panels. Gold and other precious materials were used in the Middle Ages to separate spiritual objects from the everyday world.
Medieval painting (500–1400)
The first part of the Middle Ages, from about the 6th to the 11th centuries AD, is usually called the Dark Ages. During this time of unrest, art was kept mainly in monasteries. In the 5th century AD Warran tribes from northern and central Europe roamed the continent. For hundreds of years they dominated Western Europe. These people produced art in which the main element is pattern. They were particularly fascinated by the structures of intertwined dragons and birds.
The best of Celtic and Saxon art can be found in manuscripts from the 7th and 8th centuries. Book illustrations, illumination and miniature painting, practiced since late Roman times, became widespread in the Middle Ages. Lighting is the decoration of text, capital letters and margins. Gold, silver and bright colors were used. A miniature is a small picture, often a portrait. The term was originally used to describe the decorative block around the initial letters in a manuscript.
Charlemagne, who was crowned Holy Roman Emperor at the beginning of the 9th century, attempted to revive the classical art of the late Roman and early Christian periods. During his reign, miniature painters imitated classical art, but they also conveyed personal feelings through their subjects.
Very little wall painting has survived from the Middle Ages. Churches built during the Romanesque period (11th-13th centuries) had some great frescoes, but most of them have disappeared. In churches of the Gothic period (XII-XVI centuries) there was not enough space for wall paintings. Book illustration was the main work of the Gothic painter.
Among the best illustrated manuscripts were books of hours - collections of calendars, prayers and psalms. A page from an Italian manuscript shows elaborate initials and a finely detailed marginal scene of St. George slaying a dragon. The colors are brilliant and similar to gems like stained glass, and the gold shimmers above the page. Gracefully subtle leaf and floral designs border the text. Artists likely used magnifying glasses to produce such intricate, detailed work.
Italy: Cimabue and Giotto
Italian artists at the end of the 13th century were still working in the Byzantine style. Human figures were made flat and decorative. The faces rarely had expression. The bodies were weightless and seemed to float rather than stand firmly on the ground. In Florence, the artist Cimabue (1240-1302) tried to modernize some of the old Byzantine techniques. The angels in Madonna Enthroned are more active than usual in paintings of the time. Their gestures and faces show a little more human feeling. Cimabue added a new sense of monumentality or splendor to his paintings. However, he continued to follow many Byzantine traditions, such as the golden background and patterned arrangement of objects and figures.
It was the great Florentine artist Giotto (1267-1337) who actually broke with the Byzantine tradition. His fresco series in the Arena Chapel in Padua leaves Byzantine art far behind. There is real emotion, tension and naturalism in these scenes from the lives of Mary and Christ. All the qualities of human warmth and sympathy are present. People don't seem completely unreal or heavenly. Giotto shaded the outlines of the figures, and he placed deep shadows in the folds of the clothes to give a sense of roundness and solidity.
For his small panels, Giotto used pure egg tempera, a medium that was perfected by the Florentines in the 14th century. The clarity and brightness of its colors must have greatly influenced people accustomed to the dark colors of Byzantine panels. Tempera paintings give the impression that soft daylight is falling on the scene. They have an almost flat appearance, in contrast to the gloss of oil painting. Egg tempera remained the main paint until oil replaced it almost completely in the 16th century.
Late medieval painting north of the Alps
At the beginning of the 15th century, artists in Northern Europe worked in a style completely different from Italian painting. Northern artists achieved realism by adding countless details to their paintings. All hair was gracefully defined, and every detail of drapery or flooring was precisely positioned. The invention of oil painting made detailing easier.
The Flemish artist Jan van Eyck (1370-1414) made a great contribution to the development of oil painting. When tempera is used, the colors must be applied separately. They cannot shade each other well because the paint dries quickly. With oil that dries slowly, the artist can achieve more complex effects. His portraits from 1466-1530 were executed in the Flemish oil technique. All details and even mirror reflections are clear and accurate. The color is durable and has a hard, enamel-like surface. The primed wood panel was prepared in the same way that Giotto prepared his panels for tempera. Van Eyck created the painting with layers of fine color called glaze. Tempera was probably used in the original undergrowth and for highlights.
Italian Renaissance
At the time van Eyck was working in the North, the Italians were moving into a golden age of art and literature. This period is called Renaissance, which means rebirth. Italian artists were inspired by the sculpture of the ancient Greeks and Romans. The Italians wanted to revive the spirit of classical art, which glorifies human independence and nobility. Renaissance artists continued to paint religious scenes. But they also emphasized earthly life and people's achievements.
Florence
Giotto's achievements in the early 14th century marked the beginning of the Renaissance. Italian artists XVII centuries continued it. Masaccio (1401-1428) was one of the leaders of the first generation of Renaissance artists. He lived in Florence, a wealthy trading city where Renaissance art began. By the time of his death in the late twenties, he had revolutionized painting. In his famous mural "The Tribute Money" he places imposing sculpted figures in a landscape that seems to stretch far into the distance. Masaccio may have studied perspective from the Florentine architect and sculptor Brunelleschi (1377-1414).
The fresco technique was very popular during the Renaissance. It was especially suitable for large murals because the colors in the fresco are dry and perfectly flat. The image can be viewed from any angle without glare or reflections. Frescoes are also accessible. Usually, artists had several assistants. The work was carried out in parts because it had to be completed while the plaster was still wet.
Masaccio's full "three-dimensional" style was typical of the new progressive movement of the 15th century. The style of Fra Angelico (1400-1455) represents a more traditional approach, used by many early Renaissance artists. He was less concerned about the future and more interested in decorative pattern. His “Coronation of the Virgin” is an example of tempera at its most beautiful. Fun, rich colors set against gold and accented with gold. The picture looks like an enlarged miniature. The long, narrow figures have little in common with Masaccio. The composition is organized in broad lines of movement circling around the central figures of Christ and Mary.
Another Florentine who worked in the traditional style was Sandro Botticelli (1444-1515). Fluid rhythmic lines connect sections of Botticelli's Spring. The figure of Spring, carried by the west wind, sweeps by from the right. The Three Graces dance in a circle, the flowing folds of their dresses and the graceful movements of their hands expressing the rhythms of the dance.
Leonardo da Vinci (1452-1519) studied painting in Florence. He is famous for his scientific research and inventions, as well as his paintings. Very few of his paintings survive, partly because he often experimented with different ways of creating and applying paint rather than using tried and true methods. " last supper" (painted between 1495 and 1498) was done in oil, but unfortunately Leonardo painted it on a damp wall, which caused the paint to crack. But even in poor condition (before restoration), the painting had the ability to arouse emotions in everyone who sees it.
One of the distinctive features of Leonardo's style was his method of depicting lights and darkness. The Italians called its dim lighting "sfumato", which means smoky or foggy. The figures in the Madonna of the Rocks are veiled in an atmosphere of sfumato. Their shapes and features are softly shaded. Leonardo achieved these effects using very subtle gradations of light and dark tones.
Rome
The culmination of Renaissance painting occurred in the 16th century. At the same time, the center of art and culture moved from Florence to Rome. Under Pope Sixtus IV and his successor, Julius II, the city of Rome was gloriously and richly decorated by Renaissance artists. Some of the most ambitious projects of this period were begun during the papacy of Julius II. Julius commissioned the great sculptor and painter Michelangelo (1475-1564) to paint the ceiling Sistine Chapel and carve a sculpture for the Pope's tomb. Julius also invited the painter Raphael (1483-1520) to help decorate the Vatican. With his assistants, Raphael painted four rooms of the Pope's apartments in the Vatican Palace.
Michelangelo, a Florentine by birth, developed a monumental style of painting. The figures in his painting are so strong and voluminous that they look like sculptures. The Sistine ceiling, which took Michelangelo 4 years to complete, consists of hundreds of human figures from the Old Testament. To complete this grandiose fresco, Michelangelo had to lie on his back on scaffolding. The pensive face of Jeremiah among the prophets that surround the ceiling is considered by some experts to be a self-portrait of Michelangelo.
Raphael came to Florence from Urbino while still a very young man. In Florence he absorbed the ideas of Leonardo and Michelangelo. By the time Raphael went to Rome to work at the Vatican, his style had become one of the greatest in beauty of execution. He was especially fond of his beautiful portraits of the Madonna and Child. They have been reproduced by the thousands and can be seen everywhere. His Madonna del Granduca is successful due to its simplicity. Timeless in its peace and purity, it is as attractive to us as it was to the Italians of Raphael's era.
Venice
Venice was the main northern Italian city of the Renaissance. It was visited by artists from Flanders and other regions who knew about Flemish experiments with oil paint. This stimulated the early use of oil technology in the Italian city. The Venetians learned to paint on tightly stretched canvas, rather than on the wood panels commonly used in Florence.
Giovanni Bellini (1430-1515) was the greatest Venetian artist of the 15th century. He was also one of the first Italian artists to use oil on canvas. Giorgione (1478-1151) and Titian (1488-1515), who is the most famous of all Venetian artists, were apprentices in Bellini's studio.
A master of oil painting, Titian painted huge canvases in warm, rich colors. In his mature paintings he sacrificed detail to create stunning effects, such as in the Madonna of Pesaro. He used large brushes to make large strokes. His colors are especially rich because he patiently created glazes of contrasting colors. Typically, glazes were applied to a brown tempered surface, which gave the painting a uniform tone.
Another great Venetian artist of the 16th century was Tintoretto (1518-1594). Unlike Titian, he usually worked directly on canvas without preliminary sketches or outlines. He often distorted his forms (twisted them) for the sake of composition and drama of the plot. His technique, which includes broad brushstrokes and dramatic contrasts of light and dark, appears very modern.
The artist Kyriakos Theotokopoulos (1541-1614) was known as El Greco ("The Greek"). Born on the island of Crete, which was occupied by the Venetian army, El Greco was trained by Italian artists. As a young man, he went to study in Venice. The combined influence of Byzantine art, which he saw around him in Crete, and Italian Renaissance art, made El Greco's work outstanding.
In his paintings he distorted natural forms and used even stranger, more unearthly colors than Tintoretto, whom he admired. Later, El Greco moved to Spain, where the darkness of Spanish art influenced his work. In his dramatic vision of Toledo, a storm rages over the deadly silence of the city. Cool blues, greens and blue-white hues spread a chill over the landscape.
Renaissance in Flanders and Germany
The golden age of painting in Flanders (now part of Belgium and northern France) was the 15th century, the time of van Eyck. In the 16th century, many Flemish artists imitated Italian artists Renaissance. However, some Flemings continued the Flemish tradition of realism. Then it spread genre painting- scenes from everyday life that were sometimes charming and sometimes fantastic. Hieronymus Bosch(1450-1515), who preceded the genre painters, had an unusually vivid imagination. He came up with all sorts of strange, grotesque creatures for The Temptation of St. Anthony." Pieter Bruegel the Elder (1525-1569) also worked in the Flemish tradition, but added perspective and other Renaissance characteristics to his genre scenes.
Albrecht Dürer (1471-1528), Hans Holbein the Younger (1497-1543) and Lucas Cranach the Elder (1472-1553) were three of the most important German artists of the 16th century. They did much to soften the grim realism of early German painting. Dürer visited Italy at least once, where he was impressed by the paintings of Giovanni Bellini and other northern Italians. Through this experience he instilled in German painting a knowledge of perspective, a sense of color and light, and a new understanding of composition. Holbein absorbed even more Italian achievements. His sensitive drawing and ability to select only the most important details made him a master portraitist.
Baroque painting
The 17th century is known in art as the Baroque period. In Italy, the artists Caravaggio (1571-1610) and Annibale Carracci (1560-1609) represented two contrasting points of view. Caravaggio (real name Michelangelo Merisi) always drew inspiration directly from the realities of life. One of his main concerns was to copy nature as closely as possible without glorifying it in any way. Carracci, on the other hand, followed the Renaissance ideal of beauty. He studied ancient sculpture and works by Michelangelo, Raphael and Titian. Caravaggio's style admired many artists, especially the Spaniard Ribera and the young Velazquez. Carracci inspired Nicolas Poussin (1594-1665), a famous French painter of the 17th century.
Spain
Diego Velázquez (1599-1660), court painter to King Philip IV of Spain, was one of the greatest of all Spanish artists. A fan of Titian's work, he was a master at using rich, harmonious color. No artist could better create the illusion of rich tissue or human skin. Prosper's Portrait of the Little Prince Philip shows this skill.
Flanders
Paintings Flemish artist Peter Paul Rubens (1577-1640) represent the embodiment of the full-color Baroque style. They are bursting with energy, color and light. Rubens broke with the Flemish tradition of painting small pictures. His canvases are huge, filled with human figures. He received more orders for large paintings than he could handle. Therefore, he often drew only a small color sketch. His assistants then transferred the sketch onto a large canvas and completed the painting under the direction of Rubens.
Holland
The achievements of the Dutch painter Rembrandt (1606-1669) are among the most outstanding in history. He had a wonderful gift of accurately capturing and conveying human emotions. Like Titian, he worked for a long time to create multi-layered paintings. Earth colors - yellow ochre, brown and brown-red - were his favorites. His paintings are made mainly in dark colors. The importance of dark multi-layered parts makes his technique unusual. The emphasis is conveyed by bright lighting in relatively light areas.
Jan Vermeer (1632-1675) was one of a group of Dutch artists who painted modest scenes of everyday life. He was a master at painting any texture - satin, Persian carpets, bread crusts, metal. The overall impression of Vermeer's interior is that of a sunny, cheerful room filled with iconic household objects.
18th century painting
In the 18th century, Venice produced several fine artists. The most famous was Giovanni Battista Tiepolo (1696-1770). He decorated the interiors of palaces and other buildings with grand, colorful frescoes depicting scenes of wealth. Francesco Guardi (1712-1793) was very skilled with the brush, and with just a few spots of color he could conjure up the idea of a tiny figure in a boat. The spectacular views of Antonio Canaletto (1697-1768) celebrated the past glories of Venice.
France: Rococo style
In France, a taste for pastel colors and intricate decoration led to the development of the Rococo style in the early 18th century. Jean Antoine Watteau (1684-1721), court painter to King Louis XV, and later François Boucher (1703-1770) and Jean Honoré Fragonard (1732-1806) were associated with Rococo trends. Watteau wrote dreamy visions, a life in which everything is fun. The style is based on picnics in parks and forest parties, where cheerful gentlemen and elegant ladies have fun in nature.
Other 18th century artists depicted scenes ordinary life middle class. Like the Dutch Vermeer, Jean Baptiste Simeon Chardin (1699-1779) appreciated simple domestic subjects and still lifes. His colors are sober and calm compared to Watteau.
England
In the 18th century, the British first developed a separate school of painting. The core consisted mainly of portrait painters, influenced by the Venetian Renaissance artists. Sir Joshua Reynolds (1723-1792) and Thomas Gainsborough (1727-1788) are the most famous. Reynolds, who traveled to Italy, followed the ideals of Renaissance painting. His portraits, while charming and moving, are not particularly interesting in color or texture. Gainsborough, on the other hand, had a talent for brilliance. The surfaces of his paintings glow with radiant color.
19th century painting
The 19th century is sometimes seen as the period during which the contemporary art. One of the important reasons for the so-called revolution in art at this time was the invention of the camera, which forced artists to reconsider the purpose of painting.
More important event There was widespread use of pre-made paints. Until the 19th century, most artists or their assistants made their own paints by grinding pigment. Early commercial paints were inferior to hand paints. Artists in the late 19th century discovered that dark blues and browns were more early paintings within a few years they became black or gray. They began using pure colors again to preserve their work, and sometimes because they were trying to reflect sunlight more accurately in street scenes.
Spain: Goya
Francisco Goya (1746-1828) was the first great Spanish artist to emerge since the 17th century. As the favorite artist of the Spanish court, he made many portraits of the royal family. The royal characters are equipped with elegant clothes and fine jewelry, but on some of their faces, all that is reflected is vanity and greed. In addition to portraits, Goya painted dramatic scenes, such as the Third of May 1808. This painting depicts the execution of a group of Spanish rebels by French soldiers. Bold contrasts of light and dark and gloomy colors, laced with splashes of red, evoke a grim horror of the spectacle.
Although France was a great center of art in the 1800s, English landscape artists John Constable (1776-1837) and Joseph Mallord William Turner (1775-1851) made valuable contributions to 19th-century painting. Both were interested in painting light and air, two aspects of nature that 19th century artists explored fully. The constable used a method known as division, or broken color. He used contrasting colors over the main background color. He often used a palette knife to apply color tightly. The painting "Hay Wain" made him famous after being shown in Paris in 1824. This is a simple village haymaking scene. Clouds drift over meadows covered with patches of sunlight. Turner's paintings are more dramatic than those of Constable, who painted the majestic sights of nature - storms, seascapes, blazing sunsets, high mountains. Often, a golden haze partially obscures the objects in his paintings, making them appear to float in endless space.
France
The period of Napoleon's reign and French Revolution marked the emergence of two opposing trends in French art - classicism and romanticism. Jacques Louis David (1748-1825) and Jean Auguste Dominique Ingres (1780-1867) were inspired by ancient Greek and Roman art and the Renaissance. They emphasized detail and used color to create solid shapes. As a favorite artist of the revolutionary government, David often painted historical events of the period. In his portraits, such as Madame Recamier, he strove to achieve classical simplicity.
Théodore Guéricault (1791-1824) and the romantic Eugene Delacroix (1798-1863) rebelled against David's style. For Delacroix, color was the most important element in painting and he had no patience for imitating classical statues. Instead, he admired Ruben and the Venetians. He chose colorful, exotic themes for his paintings, which sparkle with light and are full of movement.
Barbizon artists were also part of the general Romantic movement, which lasted from about 1820 to 1850. They worked near the village of Barbizon on the edge of the Fontainebleau forest. They found inspiration in nature and completed the paintings in their studios.
Other artists experimented with everyday, ordinary objects. The landscapes of Jean Baptiste Camille Corot (1796-1875) reflect his love of nature, and his studies of the human body show a kind of balanced calm. Gustave Courbet (1819-1877) called himself a realist because he depicted the world as he saw it - even its harsh, unpleasant side. He limited his palette to just a few dark colors. Edouard Manet (1832-1883) also took the basis for his subjects from the surrounding world. People were shocked by his colorful contrasts and unusual techniques. The surfaces of his paintings often have a flat, patterned texture of brush strokes. Manet's methods of applying the effects of light to form influenced young artists, especially the Impressionists.
Working in the 1870s and 1880s, a group of artists known as the Impressionists wanted to depict nature exactly as it was. They went much further than Constable, Turner and Manet in studying the effects of light in color. Some of them developed scientific theories of color. Claude Monet (1840-1926) often painted the same view in different times days to show how it changes under different lighting conditions. Whatever the subject, his paintings are made up of hundreds of tiny brushstrokes placed next to each other, often in contrasting colors. At a distance, the strokes blend to create the impression of solid shapes. Pierre Auguste Renoir (1841-1919) used impressionist techniques to capture the celebration of Parisian life. In his Dance at the Moulin de la Galette, people in brightly colored clothes crowded together and danced merrily. Renoir painted the entire picture with small strokes. Dots and strokes of paint create texture on the surface of a painting that gives it a special kind. Crowds of people seem to dissolve in sunlight and shimmering color.
20th century painting
A number of artists soon became dissatisfied with Impressionism. Artists such as Paul Cézanne (1839-1906) felt that Impressionism did not describe the solidity of forms in nature. Cézanne loved painting still lifes because they allowed him to focus on the shape of fruit or other objects and their arrangement. The subjects of his still lifes look solid because he reduced them to simple geometric shapes. His technique of placing splashes of paint and short strokes of rich color side by side shows that he learned a lot from the Impressionists.
Vincent Van Gogh (1853-90) and Paul Gauguin (1848-1903) responded to the realism of the Impressionists. Unlike the Impressionists, who said they viewed nature objectively, Van Gogh cared little about accuracy. He often distorted objects to express his thoughts more creatively. He used impressionistic principles to place contrasting colors next to each other. Sometimes he squeezed paint from tubes directly onto the canvas, as in “Yellow Corn Field.”
Gauguin did not care for the mottled color of the Impressionists. He applied color fluidly in large, flat areas, which he separated from each other with lines or dark edges. Colorful tropical peoples provided much of his subject matter.
Cezanne's method of creating space using simple geometric shapes was developed by Pablo Picasso (1881-1973), Georges Braque (1882-1963) and others. Their style became known as Cubism. Cubists painted objects as if they could be seen from several angles at once, or as if they had been disassembled and reassembled on a flat canvas. Often the objects turned out to be unlike anything existing in nature. Sometimes Cubists cut out figures from fabric, cardboard, wallpaper, or other materials and pasted them onto canvas to make a collage. Textures were also varied by adding sand or other substances to the paint.
More recent trends have been to place less emphasis on the topic. Composition and image technique began to receive greater emphasis.
Painting- the most common type of fine art, works of which are created using paints applied to any surface.
The works of art created by painters use drawing, color, light and shade, expressiveness of strokes, texture and composition. This makes it possible to reproduce on a plane the colorful richness of the world, the volume of objects, their qualitative material originality, spatial depth and light-air environment.
Painting, like any art, is a form of social consciousness and is an artistic and figurative reflection of the world. But, reflecting the world, the artist simultaneously embodies in his works his thoughts and feelings, aspirations, aesthetic ideals, evaluates the phenomena of life, explaining their essence and meaning in his own way, and expresses his understanding of the world.
The world of painting is rich and complex, its treasures have been accumulated by humanity over many millennia. The most ancient works of painting were discovered by scientists on the walls of caves in which primitive people lived. The first artists depicted hunting scenes and animal habits with amazing accuracy and sharpness. This is how the art of painting on the wall arose, which had features characteristic of monumental painting.
Monumental painting There are two main types of monumental painting fresco (from Italian fresco - fresh) and mosaic (from the Italian mosaique, literally dedicated to the muses).
Fresco is a technique of painting with paints diluted with clean or lime water on fresh, damp plaster.
Mosaic– an image made of particles of stone, smalt, ceramic tiles, homogeneous or different in material, which are fixed in a layer of soil - lime or cement.
Fresco and mosaic are the main types of monumental art, which, due to their durability and color fastness, are used to decorate architectural volumes and planes (wall paintings, lampshades, panels). Among Russian monumentalists the names are well known A.A. Deineki, P.D. Korina, A.V. Vasnetsova, B.A. Talberga, D.M. Merperta, B.P. Milyukova and others.
Easel painting(the picture) has an independent character and meaning. The breadth and completeness of coverage of real life is reflected in the diversity of types and genres: still life, everyday life, historical, battle genres, landscape, portrait.
Unlike monumental painting, easel painting is not connected to the plane of the wall and can be freely exhibited. The ideological and artistic significance of works of easel art does not change. depending on the place where they are located, although their artistic sound depends on the exposure conditions.
In addition to the above types of painting, there are decorative- sketches of theatrical and film sets and costumes, - as well as miniatures And iconography.
A monument of high skill of ancient Russian painting of the 15th century. The “Trinity” icon, created by Andrei Rublev, is rightfully considered a masterpiece, stored in the All-Russian Museum Association “State Tretyakov Gallery” (ill. 6). Here the moral ideal of the harmony of the spirit with the world and life is expressed in a perfect, highest form for its time. The icon is filled with deep poetic and philosophical content. The image of three angels is inscribed in a circle, subordinating all the contour lines, the consistency of which produces an almost musical effect. Illuminate, pure tones, especially cornflower blue (“cabbage roll”) and transparent green, merge into a finely coordinated range. These colors contrast with the dark cherry robe of the middle angel, emphasizing the leading role of his figure in the overall composition.
The beauty of Russian icon painting, names Theophanes the Greek, Andrei Rublev, Dionisy, Prokhor from Gorodets, Daniil Cherny opened to the world only after the 20th century. learned to clear ancient icons of later records.
Unfortunately, there is a simplified understanding of art, when in works they look for the obligatory clarity of the plot, the recognition of what the artist depicted, from the standpoint of “similar” or “dissimilar.” At the same time, they forget: not in all types of art one can find a direct resemblance of what is depicted on the canvas with a picture of a familiar concrete life. With this approach, it is difficult to evaluate the merits of Andrei Rublev's painting. Not to mention such “non-visual” types of creativity as music, architecture, applied and decorative arts.
Painting, like all other forms of art, has a special artistic language through which the artist conveys his ideas and feelings that reflect reality. In painting, “the full-scale image of reality is realized through the artistic image, line and color. Despite all its technical perfection, painting is not yet a work of art if it does not evoke empathy and emotions in the viewer.
With absolutely accurate execution, the artist is deprived of the opportunity to show his attitude towards what is being depicted if his goal is to convey only similarities!
For famous masters, the image never completely and accurately conveys reality, but only reflects it from a certain point of view. The artist primarily identifies what he consciously or intuitively considers especially important, the main thing in this case. The result of such an active attitude towards reality will be not just an accurate image, but artistic image of reality, in which the author, summarizing individual details, emphasizes the most important, characteristic. Thus, the artist’s worldview and aesthetic position are manifested in the work.
Still life- one of the independent genres of painting. The uniqueness of the genre lies in its great visual possibilities. Through the material essence of specific objects, a true artist can reflect in figurative form the essential aspects of life, tastes and morals, the social status of people, important historical events, and sometimes an entire era. Through the targeted selection of image objects and their interpretation, he expresses his attitude to reality, reveals his thoughts and feelings.
For comparison, let’s take a still life painted by an outstanding Soviet painter M.S. Saryan(1880-1972), “Yerevan Flowers” (ill. 7). The master expressed his attitude towards flowers in the words that became the epigraph to the monograph of his creative works: “What could be more beautiful than flowers that decorate a person’s life? ...When you see flowers, you are immediately infected with a joyful mood... The purity of colors, transparency and depth that we see in flowers can only be seen in the plumage of birds and fruits”1.
“Behind the apparent ease and spontaneity of the painting there is a great pictorial culture and the vast experience of a highly talented artist. His ability, as if in one breath, to paint a large (96x103 cm) picture, deliberately ignoring the details typical of the creative manner of the painter, striving to convey the main thing - the limitless wealth of colors of the nature of our native Armenia.
Everyday genre, or simply "genre" (from French word genre - genus, type) is the most common type of easel painting, in which the artist turns to depicting life in its everyday manifestations.
In Russian fine art, the everyday genre took a leading position in the 19th century, when 154 outstanding representatives of the democratic movement in painting contributed to its development: V.K. Perov (1833-1882), K.A. Savitsky (1844-1905), N.A. Yaroshenko (1846 -1896), V.E. Makovsky (1846-1920), I.E. Repin (1844-1930).
The undoubted creative success of A.A. Plastova (1893-1972) The painting “Spring” is considered to be in which the artist expressed a chaste and subtle sense of admiration for motherhood. The figure of a mother tying a scarf on her child’s head looks great against the backdrop of light spring snow. The artist dedicated many genre paintings to the simple life situations of his fellow villagers.
Historical genre formed in Russian art in the second half of the 19th century. He helped leading Russian artists pay close attention to the past of their Motherland, to the acute problems of the then reality. Russian historical painting reached its peaks in the 80-90s of the last century in creativity I.E. Repina, V.I. Surikova, V.M. Vasnetsova, K.P. Bryullov. Famous Russian artist P.D. Corinne (1892-1967) created a triptych (a composition of three separate paintings connected common theme) "Alexander Nevsky". The work was created during the harsh times of the Great Patriotic War(1942-1943). During the difficult years of the war, the artist turned to the image of the great warrior of Ancient Rus', showing his indissoluble connection with the people, with the Russian land itself. Korin's triptych became one of the most striking documents of the heroic period of our history, expressing the artist's faith in the courage and resilience of the people who were subjected to severe trials.
Battle genre(from the French bataille - battle) is considered as a type of historical genre. Outstanding works of this genre include paintings A.A. Deineki“The Defense of Petrograd” (1928), “The Defense of Sevastopol” (1942) and “The Downed Ace” (1943).
Scenery often used as an important addition to everyday historical and battle paintings, but can also act as an independent genre. Works of landscape painting are close and understandable to us, although the person on the canvas is often absent.
Images of nature excite all people, giving rise to similar moods, experiences and thoughts. Who among us is not close to the landscapes of Russian painters: “The rooks have arrived” A.K. Savrasova, "Thaw" F. Vasilyeva,"Rye" I.I. Shishkina,"Night on the Dnieper" A.I. Kuindzhi,"Moscow courtyard" VD. Polenova and "Over Eternal Peace" I.I. Levitan. We involuntarily begin to look at the world through the eyes of artists who have revealed the poetic beauty of nature.
Landscape artists saw and conveyed nature each in their own way. They had their own favorite motives. I.K. Aivazovsky (1817-1900), depicting different states of the sea, ships and people struggling with the elements. His canvases are characterized by a subtle gradation of chiaroscuro, lighting effect, emotional elation, and a tendency towards heroism and pathos.
Remarkable works in this genre by Soviet landscape painters: NE. Gerasimova (1885-1964), author of such paintings as “Winter” (1939) and “The Ice Gone” (1945),
N.P. Krymova(1884-1958), creator of the paintings “Autumn” (1918), “Gray Day” (1923), “Noon” (1930), “Before Dusk” (1935) and others, watercolors A.P. Ostroumova-Lebedeva(1871-1955) - “Pavlovsk” (1921), “Petrograd. Field of Mars" (1922), paintings A.M. Gritsaya (born 1917)“Summer Garden” (1955), “Afternoon” (1964), “May. Spring Warmth" (1970), etc.
Portrait(from the French portraire - to depict) - an image, an image of a person or group of people who exist or existed in reality.
One of the most important criteria portrait painting is the similarity of the image to the model (original). Various solutions to the composition in a portrait are possible (bust-length, waist-length, full-length, group). But with all the variety of creative solutions and manners, the main quality of portraiture is not only the conveyance of external resemblance, but also the revelation of the spiritual essence of the person being portrayed, his profession, and social status.
In Russian art, portraiture began its brilliant history at the beginning of the 18th century. F.S. Rokotov (1735-1808), D.G. Levitsky (1735-1822), V.A. Borovikovsky (1757-1825) by the end of the 18th century. reached the level of the highest achievements of world art.
At the beginning of the 19th century. Russian artists V.A. Tropinin (1776-1857) And O.A. Kiprensky (1782-1836) created widely known portraits of A.S. Pushkin.
The traditions of Russian pictorial portraiture were continued by the Itinerant artists: V.G. Perov (1833/34-1882), N.N. Ge (1831 - 1894), I.N. Kramskoy (1837-1887), I.E. Repin (1844-1930) etc.
A brilliant example of the composition of portraits of prominent figures in science and art is a series of canvases created by the artist M.V. Nesterov (1877-1942). The master seemed to find his heroes at the most intense moment of their creative, concentrated thought, spiritual search (ill. 13). This is how portraits of famous Soviet sculptors were designed I.D. Shadra (1934) and V.I. Mukhina (1940), academician I.P. Pavlova (1935) and a prominent surgeon S.S. Yudina (1935).
Painting is a type of fine art that involves creating pictures, paintings, most fully and life-like reflecting reality.
A work of art made with paints (oil, tempera, watercolor, gouache, etc.) applied to any hard surface, is called painting. The main expressive means of painting is color, its ability to evoke various feelings and associations enhances the emotionality of the image. The artist usually draws up the color required for painting on a palette, and then turns the paint into color on the painting plane, creating a color order - coloring. According to the nature of color combinations, it can be warm and cold, cheerful and sad, calm and tense, light and dark.
The images in the painting are very visual and convincing. Painting is capable of conveying volume and space, nature, and revealing complex world human feelings and characters, embody universal human ideas, events of the historical past, mythological images and flights of fancy.
Unlike painting as an independent type of fine art, the pictorial approach (method) can be used in its other types: in drawing, graphics and even in sculpture. The essence of the pictorial approach lies in depicting an object in relationship with the surrounding spatial light-air environment, in a subtle gradation of tonal transitions.
The variety of objects and events of the surrounding world, close
artists' interest in them led to the emergence during the 17th -
XX centuries genres of painting: portrait, still life, landscape, animalistic, everyday (genre painting), mythological, historical, battle genres. In works of art there may be a combination of genres or their elements. For example, a still life or landscape can successfully complement a portrait image.
By technical methods and the materials used, painting can be divided into the following types: oil, tempera, wax (encaustic), enamel, glue, water paints on wet plaster (fresco), etc. In some cases, it is difficult to separate painting from graphics. Works made in watercolor, gouache, and pastel can relate to both painting and graphics.
Painting can be single-layer, done immediately, or multi-layer, including underpainting and glazing, transparent and translucent layers of paint applied to the dried paint layer. This achieves the finest nuances and shades of color.
By important means artistic expression in painting there are, in addition to color (color), the spot and character of the stroke, the treatment of the paint surface (texture), values showing subtle changes in tone depending on the lighting, reflexes that appear from the interaction of adjacent colors.
The construction of volume and space in painting is associated with linear and airy perspective, spatial properties of warm and cold colors, light and shadow modeling of form, and the transfer of the overall color tone of the canvas. To create a picture, in addition to color, you need good drawing and expressive composition. The artist, as a rule, begins work on the canvas by searching for the most successful solution in sketches. Then, in numerous picturesque sketches from life, he
works out the necessary elements of the composition. Work on a painting can begin with drawing the composition with a brush, underpainting and
directly painting the canvas with one or another pictorial means. Moreover, even preparatory sketches and sketches sometimes have independent artistic significance, especially if they belong to the brush famous painter. Painting is a very ancient art, which has undergone an evolution over many centuries from Paleolithic rock paintings to the latest trends in painting of the 20th century. Painting has a wide range of possibilities for realizing ideas from realism to abstractionism. Enormous spiritual treasures have been accumulated in the course of its development. IN ancient times a desire arose to reproduce the real world as a person sees it. This caused the emergence of the principles of chiaroscuro, elements of perspective, and the emergence of volumetric-spatial pictorial images. New thematic possibilities for depicting reality through pictorial means have opened up. Painting served to decorate temples, dwellings, tombs and other structures, and was in artistic unity with architecture and sculpture.
Medieval painting was predominantly of religious content. It was distinguished by the expression of sonorous, mainly local colors, and expressiveness of contours.
The background of frescoes and paintings, as a rule, was conventional, abstract or golden, embodying the divine idea in its mysterious flickering. Color symbolism played a significant role.
During the Renaissance, the feeling of the harmony of the universe, anthropocentrism (man at the center of the universe) was reflected in pictorial compositions on religious and mythological themes, in portraits, everyday and historical scenes. The role of painting has increased, developing a scientifically based system of linear and aerial perspective, chiaroscuro.
Abstract painting appeared, which marked the rejection of figurativeness and the active expression of the artist’s personal attitude to the world, emotionality and conventionality of color, exaggeration and geometrization
forms, decorativeness and associativity of compositional solutions.
In the 20th century the search continues for new paints and technical means of creating paintings, which will undoubtedly lead to the emergence of new styles in painting, but oil painting still remains one of the most favorite techniques of artists.