Painting is a visual art, which is characterized by the practice of applying paint, pigment, color or other medium to a solid surface (called "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, may be used. One who produces paintings is called a painter.
In art, the term "painting" describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects.
Historic paint analysis, or architectural paint research, is the scientific analysis of a broad range of architectural finishes, and is primarily used to determine the color and behavior of surface finishes at any given point in time. This helps us to understand the building's structural history and how its appearance has changed over time.
Historic paint analysis shares a common methodology with the conservation and restoration of paintings used to conserve and restore two- and three dimensional works of art. This involves the identification of components such as organic or inorganic pigments and dyes contained in the pigments. Historic paint analysis also identifies the pigments' media of suspension such as (water, oil, or latex and the paints' associated substrate. A variety of techniques are used to identify and analyze the pigment layers and finish exposure, including Finish Exposure, optical microscopy, fluorescent light microscopy, polarized light microscopy, and Fourier-transform infrared spectroscopy. (Full article...)
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A binder or binding agent is any material or substance that holds or draws other materials together to form a cohesive whole mechanically, chemically, by adhesion or cohesion.
More narrowly, binders are liquid or dough-like substances that harden by a chemical or physical process and bind fibres, filler powder and other particles added into it. Examples include glue, adhesive and thickening. (Full article...)
In art, a pendant is one of two paintings, statues, reliefs or other type of works of art intended as a pair. Typically, pendants are related thematically to each other and are displayed in close proximity. For example, pairs of portraits of married couples are very common, as are symmetrically arranged statues flanking an altar.
Pendants may be the work of a single artist or of two artists, who in some instances might be in competition with one another. An example of the latter case is the pairing of the marble groups The Triumph of Faith over Idolatry by Jean-Baptiste Théodon and Religion Overthrowing Heresy and Hatred by Pierre Le Gros the Younger on the Altar of Saint Ignatius of Loyola (1695–1697/98), in the Church of the Gesù, Rome. (Full article...)
A coloring book (British English: colouring-in book, colouring book, or colouring page) is a type of book containing line art to which people are intended to add color using crayons, colored pencils, marker pens, paint or other artistic media. Traditional coloring books and coloring pages are printed on paper or card. Some coloring books have perforated edges so their pages can be removed from the books and used as individual sheets. Others may include a story line and so are intended to be left intact. Today, many children's coloring books feature popular characters. They are often used as promotional materials for motion pictures and television. Coloring books may also incorporate other activities such as connect the dots, mazes and other puzzles. Some also incorporate the use of stickers. (Full article...)
In America, James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term, and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. The use of the term "nocturne" can be associated with the Tonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood." Along with winter scenes, nocturnes were a common Tonalist theme. Frederic Remington used the term as well for his nocturne scenes of the American Old West. (Full article...)
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Inscape, in visual art, is a term especially associated with certain works of Chilean artist Roberto Matta, but it is also used in other senses within the visual arts. Though the term inscape has been applied to stylistically diverse artworks, it usually conveys some notion of representing the artist's psyche as a kind of interior landscape. The word inscape can therefore be read as a kind of portmanteau, combining interior (or inward) with landscape. (Full article...)
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Sign painters create a new sign on the walls of the Hotel Figueroa in Los Angeles, California Sign painting is the craft of painting letteredsigns on buildings, billboards or signboards, for promoting, announcing, or identifying products, services and events. Sign painting artisans are signwriters, although in North America they are usually referred to as sign painters. (Full article...)
Painterliness is a concept based on German: malerisch ('painterly'), a word popularized by Swiss art historianHeinrich Wölfflin (1864–1945) to help focus, enrich and standardize the terms being used by art historians of his time to characterize works of art.
A house painter and decorator is a tradesperson responsible for the painting and decorating of buildings, and is also known as a decorator, or house painter. The purpose of painting is to improve the appearance of a building and to protect it from damage by water, corrosion, insects and mould. House painting can also be a form of artistic and/or cultural expression such as Ndebele house painting. (Full article...)
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A combine painting or Combine is an artwork that incorporates elements of both painting and sculpture. Items attached to paintings might include three-dimensional everyday objects such as clothing or furniture, as well as printed matter including photographs or newspaper clippings.
The term is most closely associated with the artwork of American artist Robert Rauschenberg (1925–2008) who coined the phrase Combine to describe his own artworks that explore the boundary between art and the everyday world. By placing them in the context of art, he endowed a new significance to ordinary objects. These cross-medium creations challenged the doctrine of medium specificity mentioned by modernist art critic Clement Greenberg. (Full article...)
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Xia Gui (Song dynasty) – Mountain Market- Clear with Rising Mist, one of the 8 scenes of the Eight Views of Xiaoxiang, a favourite subject in the Chinese ink wash painting tradition, showing the variety of effects achievable with black ink. A wash is a term for a visual arts technique resulting in a semi-transparent layer of colour. A wash of diluted ink or watercolor paint applied in combination with drawing is called pen and wash, wash drawing, or ink and wash. Normally only one or two colours of wash are used; if more colours are used the result is likely to be classified as a full watercolor painting.
Initially influenced by Toulouse-Lautrec, Gauguin, and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere, and cone. With the painting Les Demoiselles d'Avignon (1907; see gallery) Picasso created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new proto-Cubist inventions. Analytic cubism, exemplified by Violin and Candlestick, Paris, was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. (Full article...)
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The Old Town Hall of Amsterdam by Pieter Jansz. Saenredam, 1657, Rijksmuseum, Amsterdam Architectural painting (also Architecture painting) is a form of genre painting where the predominant focus lies on architecture, including both outdoor and interior views. While architecture was present in many of the earliest paintings and illuminations, it was mainly used as background or to provide rhythm to a painting. In the Renaissance, architecture was used to emphasize the perspective and create a sense of depth, like in Masaccio's Holy Trinity from the 1420s.
In Western art, architectural painting as an independent genre developed in the 16th century in Flanders and the Netherlands, and reached its peak in 16th and 17th century Dutch painting. Later, it developed in a tool for Romantic paintings, with e.g. views of ruins becoming very popular. Closely related genres are architectural fantasies and trompe-l'oeils, especially illusionistic ceiling painting, and cityscapes. (Full article...)
Emil Maurer writes of the painter and theorist Gian Paolo Lomazzo (1538–1600): "The recommended ideal form unites, after Lomazzo, three qualities: the pyramid, the serpentinata movement and a certain numerical proportion, all three united to form one whole. At the same time, precedence is given to the "moto", that is, to the meandering movement, which should make the pyramid, in exact proportion, into the geometrical form of a cone." (Full article...)
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Alberto Baumann, "Inheritance of the Twentieth Century" (1980). In visual art, mixed media describes artwork in which more than one medium or material has been employed. Assemblages, collages, and sculpture are three common examples of art using different media. Materials used to create mixed media art include, but are not limited to, paint, cloth, paper, wood and found objects.
Mixed media art is distinguished from multimedia art which combines visual art with non-visual elements, such as recorded sound, literature, drama, dance, motion graphics, music, or interactivity. (Full article...)
This method contrasts with studio painting or academic rules that might create a predetermined look. The theory of 'En plein air' painting is credited to Pierre-Henri de Valenciennes (1750–1819), first expounded in a treatise entitled Reflections and Advice to a Student on Painting, Particularly on Landscape (1800), where he developed the concept of landscape portraiture by which the artist paints directly onto canvas in situ within the landscape. (Full article...)
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Harvest near Auvers (1890), a size 30 canvas, by Vincent van Gogh. French standard sizes for oil paintings refers to a series of different sized canvases for use by artists. The sizes were fixed in the 19th century. Most artists[weasel words]—not only French—used this standard, as it was supported by the main suppliers of artist materials. Only some contemporary artist material suppliers continue to use these standards today, as most artists no longer differentiate canvas sizes by subject.
The main separation from size 0 (toile de 0) to size 120 (toile de 120) is divided in separate runs for faces/portraits (figure), landscapes (paysage), and marines (marine) which more or less keep the diagonal. That is, a figure 0 corresponds in height to a paysage 1 and a marine 2. In modern times in the USA size is usually stated height by width, where as in this article it is width by height. (Full article...)
A range-finder painting, sometimes called range-finding painting, is a large landscape painting produced as a training device to help gunners improve their accuracy. Historically, the best-documented use of such paintings was in the United States during World War I. (Full article...)
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Hue relationships between the primary and secondary colors in the ISCC-NBS system of color designation The ISCC–NBS System of Color Designation is a system for naming colors based on a set of 13 basic color terms and a small set of adjective modifiers. It was first established in the 1930s by a joint effort of the Inter-Society Color Council (ISCC), made up of delegates from various American trade organizations, and the National Bureau of Standards (NBS), a US government agency. As suggested in 1932 by the first chairman of the ISCC, the system's goal is to be "a means of designating colors in the United States Pharmacopoeia, in the National Formulary, and in general literature ... such designation to be sufficiently standardized as to be acceptable and usable by science, sufficiently broad to be appreciated and used by science, art, and industry, and sufficiently commonplace to be understood, at least in a general way, by the whole public." The system aims to provide a basis on which color definitions in fields from fashion and printing to botany and geology can be systematized and regularized, so that each industry need not invent its own incompatible color system.
In 1939, the system's approach was published in the Journal of Research of the National Bureau of Standards, and the ISCC formally approved the system, which consisted of a set of blocks within the color space defined by the Munsell color system as embodied by the Munsell Book of Color. Over the following decades, the ISCC–NBS system's boundaries were tweaked and its relation to various other color standards were defined, including for instance those for plastics, building materials, botany, paint, and soil. (Full article...)
Verdaccio is an Italian name for the mixture of black, white, and yellow pigments resulting in a grayish or yellowish (depending on the proportion) soft greenish brown.
Verdaccio became an integral part of fresco painting, in which this color is used for defining tonal values, forming a complete monochromatic underpainting. Often architectural details in frescoes are left in verdaccio without any additional color layers; a notable example is the ceiling of the Sistine Chapel, where verdaccio underpainting can be clearly seen, left as it is on all architectural details of the composition. (Full article...)
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Rangoli, a popular form of Indian sand paintings, in Singapore. Sandpainting is the art of pouring coloured sands, and powdered pigments from minerals or crystals, or pigments from other natural or synthetic sources onto a surface to make a fixed or unfixed sand painting. Unfixed sand paintings have a long established cultural history in numerous social groupings around the globe, and are often temporary, ritual paintings prepared for religious or healing ceremonies. This form of art is also referred to as drypainting.
Papier collé (French: pasted paper or paper cut outs) is a type of collage and collaging technique in which paper is adhered to a flat mount. The difference between collage and papier collé is that the latter refers exclusively to the use of paper, while the former may incorporate other two-dimension (non-paper) components. As the term papier collé is not commonly used, this type of work is often simply called collage.
Kangaroo totemic ancestor - Bark painting, Arnhem Land, c. 1915Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. While examples of painted bark shelters were found in the south-eastern states (then colonies) of Tasmania, Victoria, and New South Wales in the 19th century, as well as later on bark shelters in northern Australia, it is now typically only found as a continuing form of artistic expression in Arnhem Land and other regions in the Top End of Australia, including parts of the Kimberley region of Western Australia.
Bark paintings were traditionally produced (especially among the Yolngu peoples) for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions. (Full article...)
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Imitation wood grain on plastic flooring Graining is the practice of imitating wood grain on a non-wood surface, or on relatively undesirable wood surface, in order to give it the appearance of a rare or higher quality wood, thereby increase that surface's aesthetic appeal. Graining was common in the 19th century, as people were keen on imitating hard, expensive woods by applying a superficial layer of paint onto soft, inexpensive woods or other hard surfaces. Graining can be accomplished using either rudimentary tools or highly specialized tools. A specialized thick brush used for graining is often called a mottler. Fan brushes, floggers, softening brushes, texture combs and even fingers are used to create various effects. The painting is carried out in layers, with the first layer being a base. Today that is usually done with latex paint in a gold or orange or tan tone, depending on the type of wood the artist is aiming to imitat. A second layer of tempera or thinned paint is applied over the dry base, by means of a sponge or large inexpensive brush. During the 19th century, however, brushes were more commonly used. It can also be applied on bricks and brass, as is more common today.
Graining can also mean the production of any artificial texture on any surface. For example, in printing, making the smooth metal sheets used in modern printing processes coarse. A stoneworking equivalent of graining is marbling. (Full article...)
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In art, prestezza is a painting technique that utilizes rapid brushstrokes to make impressions of faces and objects as opposed to painting them out in detail. The technique allows for faster painting and makes the undercoat an integral part of the painting itself. (Full article...)
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Speed painting is an artistic technique where the artist has a limited time to finish the work. The time can vary, usually a duration is set from several minutes to a few hours. Unlike sketches, speed paintings may be considered "finished" after the time limit is up.
Speed painting is particularly common among digital media artists, because digital painting mediums allow for a work to circumvent drying times of traditional media. Digital media artists primarily use speed painting to practice working quickly and efficiently. Speed painting techniques are also frequently used in concept art, particularly in the early stages of a production when the polish of an individual image matters less than a clear basic presentation of many candidate concepts for consideration. (Full article...)
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A 6th-century encaustic icon from Saint Catherine's Monastery, Egypt, depicting Peter the Apostle Encaustic painting, also known as hot wax painting, is a form of painting that involves a heated wax medium to which colored pigments have been added. The molten mix is applied to a surface—usually prepared wood, though canvas and other materials are sometimes used. The simplest encaustic medium could be made by adding pigments to wax, though recipes most commonly consist of beeswax and damar resin, potentially with other ingredients. For pigmentation, dried powdered pigments can be used, though some artists use pigmented wax, inks, oil paints or other forms of pigmentation.
Metal tools and special brushes can be used to shape the medium as it cools. Also, heated metal tools, including spatulas, knives and scrapers, can be used to manipulate the medium after it has cooled onto the surface. Additionally, heat lamps, torches, heat guns, and other methods of applying heat are used by encaustic artists to fuse and bind the medium. Because encaustic medium is thermally malleable, the medium can be also sculpted, and materials can be encased, collaged or layered into the medium. (Full article...)
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Captain Joseph – Chinese reverse glass painting from c. 1785 – 1789. Reverse painting on glass is an art form consisting of applying paint to a piece of glass and then viewing the image by turning the glass over and looking through the glass at the image. Another term used to refer to the art of cold painting and gilding on the back of glass is verre églomisé, named after the French decorator Jean-Baptiste Glomy (1711–86), who framed prints using glass that had been reverse-painted. In German it is known as Hinterglasmalerei.
This art form has been around for many years. It was widely used for sacral paintings since the Middle Ages. The most famous was the art of icons in the Byzantine Empire. Later the painting on glass spread to Italy, where in Venice it influenced its Renaissance art. Since the middle of the 18th century, painting on glass became favored by the Church and the nobility throughout Central Europe. A number of clock faces were created using this technique in the early-to-mid-19th century. Throughout the 19th century painting on glass was widely popular as folk art in Austria, Bavaria, Moravia, Bohemia and Slovakia. Unfortunately, during the inter-war period (1914–1945) this traditional "naive" technique fell nearly to a complete oblivion and its methods of paint composition and structural layout had to be re-invented by combining acrylic and oil paints. A new method of reverse painting emerged using polymer glazing methods that permitted the artworks to be painted direct to an acrylic UV coating on the glass. The unique under glass effect retains a curious depth even though the layered painting on the glass was bonded to a final linen support and now stretcher bar mounted after being carefully removed from the original 'glass easel'. Current glass painting may disappear with the advent of using aerospace mylar as a preliminary support. (Full article...)
Glue-size is a painting technique in which pigment is bound (sized) to cloth (usually linen) with hide glue, and typically the unvarnished cloth was then fixed to the frame using the same glue. Glue-size is also known as distemper, though the term "distemper" is applied variously to different techniques. Glue-size was used because hide glue was a popular binding medium in the 15th century, particularly among artists of the Early Netherlandish period, who used it as an inexpensive alternative to oil.
In German the technique is known as Tüchleinfarben, meaning "small cloth colours", or Tüchlein, derived from the German word for “handkerchief” (i.e., “small cloth”). (Full article...)
Maki-eMaki-e (蒔絵, literally: sprinkled picture (or design)) is a Japanese lacquer decoration technique in which pictures, patterns, and letters are drawn with lacquer on the surface of lacquerware, and then metal powder such as gold or silver is sprinkled and fixed on the surface of the lacquerware. The origin of the term maki-e is a compound word of maki meaning "sprinkling" and e meaning "picture" or "design". The term can also be used to refer to lacquerware made with this decorative technique. The term maki-e first appeared in the Heian period.
This technique is the most used technique in Japanese lacquer decoration. The maki-e is often combined with other techniques such as raden (螺鈿) in which a nacreous layer of mollusk shell lining is embedded or pasted in lacquer, zōgan (象嵌) in which metal or ivory is embedded in lacquer, and chinkin (沈金) in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved. (Full article...)
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Pin striping on a motorcycle fuel tank.
Pin striping (or pinstriping) is the application of a very thin line of paint or other material called a pin stripe, and is generally used for decoration. Freehand pin stripers use a specialty brush known as a pinstriping brush.
Automotive, bike shops, and do-it-yourself car and motorcycle mechanics use paint pin striping to create their own custom look on the automotive bodies and parts. (Full article...)
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Masking tape being peeled off of a canvas, to reveal the protected, unpainted area below In art, craft, and engineering, masking is the use of materials to protect areas from change, or to focus change on other areas. This can describe either the techniques and materials used to control the development of a work of art by protecting a desired area from change; or a phenomenon that (either intentionally or unintentionally) causes a sensation to be concealed from conscious attention.
The term is derived from the word mask, in the sense that it hides the face from view. (Full article...)
Fat over lean refers to the principle in oil painting of applying paint with a higher oil to pigment ratio ('fat') over paint with a lower oil to pigment ratio ('lean') to ensure a stable paint film, since it is believed that the paint with the higher oil content remains more flexible.[dead link] Oil paint dries at different rates due to the differing drying properties of the constituent pigment. However, everything else being equal, the higher the oil to pigment ratio, the longer the oil binder will take to oxidize, and the more flexible the paint film will be. Conversely, the lower the oil content, the faster the paint dries, and the more brittle it will be. Ignoring this practice, even in some alla prima painting, may result in a cracked and less durable paint film.[dead link] (Full article...)
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Self portrait by mouth and foot artist Thomas Schweicker (1540–1602) Mouth and foot painting is a technique to create drawings, paintings and other works of art by maneuvering brushes and other tools with the mouth or foot. The technique is mostly used by artists who through illness, accident, or congenital disability have no use of their hands. The Association of Mouth and Foot Painting Artists (AMFPA) is a worldwide organization representing these artists.
The brushes and tools that are used are ordinary artist's implements, but they may be modified in length or width. Mouth painters hold the brush in their mouth or between their teeth and maneuver it with their tongue and cheek muscles. The paper or canvas is usually mounted vertically on an easel. Mouth painting is strenuous for neck and jaw muscles since the head has to perform the same back and forth movement as a hand does when painting. Foot painting can be done sitting on the floor, at a table or at an easel, as most foot painters use their toes with the same dexterity as people with hands use their fingers, this also helps the brush manoeuvre its self making it be more free with its art. (Full article...)
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Badger Studying a Sutra by Shibata Zeshin (Japan) Lacquer painting is a form of painting with lacquer which was practised in East Asia for decoration on lacquerware, and found its way to Europe and the Western World both via Persia and the Middle East and by direct contact with Continental Asia. The artistic form was revived and developed as a distinct genre of fine art painting by Vietnamese artists in the 1930s; the genre is known in Vietnamese as "sơn mài." (Full article...)
Newly Risen Moon over a Brushwood Gate. Fujita Museum of Art, Osak. Shigajiku (Japanese: 詩画軸, "poem-and-painting scrolls"), are a form of Japanese ink wash painting. These hanging scrolls depict poetic inscriptions at the top of the scroll and a painted image, usually a landscape scene, below. Buddhist monks of the gozan 五山 or Five Mountain monasteries of the early Muromachi Period (1336-1573) first introduced the poem-and-painting scrolls.
Shigajiku is a modern category given to the visual and literary culture of the Muromachi Period rooted in the Zen tradition. The most common visual aesthetic for shigajiku is a monochrome water and ink style of painting, suibokuga 水墨画, with only occasional traces of color throughout the scroll. (Full article...)
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Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. (Full article...)
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Jerusalem Delivered, a Heroic Poem, translated from the Italian of Torquato Tasso, by John Hoole. London 1797; with fore-edge painting: Trajan's Arch, (Ancona), Tasso in Prison, and the Bridge of Sighs A fore-edge painting is a scene painted on the edges of book pages. There are two basic forms, including paintings on fanned edges and closed edges. For the first type, the book's leaves must be fanned, exposing the pages' edges for the picture to become visible. For the second, closed type, the image is visible only while the book is closed.
The fundamental difference between the two fore-edge styles is that a painting on the closed edge is painted directly on the book's surface (the fore-edge being the opposite of the spine side). In contrast, the fanned fore-edge style has watercolor applied to the top or bottom margin (recto or verso) of the page/leaf and not to the actual "fore"-edge itself. (Full article...)
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An example of the drybrush technique using black acrylic paint on illustration board
Drybrush is a painting technique in which a paint brush that is relatively dry, but still holds paint, is used to create a drawing or painting. Load is applied to a dry support such as paper or primedcanvas. The resulting brush-strokes have a characteristic scratchy and textured look that lacks the smooth appearance that washes or blended paint commonly have. This technique can be used to achieve a blurred or soft appearance.
The technique of drybrush painting can be achieved with both water-based and oil-based media. With water-based media such as inks, acrylic paints, tempera-paints, or watercolor-paints, the brush is usually dry or squeezed dry of all water. The brush is loaded with paint that is highly viscous or thick and then applied to a dry support. With other water-based media, the brush is loaded with paint and then squeezed dry. When using oil-based media, such as oil-paint, similar techniques are used, although instead of water, the brush is used dry or any oil or solvent is removed. Because oil-paint has a longer drying-time than water-based media, brushing over or blending drybrush strokes is often avoided to preserve the distinctive look of the drybrush-painting-technique. (Full article...)
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Detail of the face of Mona Lisa showing the use of sfumato, particularly in the shading around the eyes. Sfumato (English: /sfuːˈmɑːtoʊ/sfoo-MAH-toh, Italian:[sfuˈmaːto]; lit.'smoked off', i.e. 'blurred') is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane. It is one of the canonical painting modes of the Renaissance. Leonardo da Vinci was the most prominent practitioner of sfumato, based on his research in optics and human vision, and his experimentation with the camera obscura. He introduced it and implemented it in many of his works, including the Virgin of the Rocks and in his famous painting of the Mona Lisa. He described sfumato as "without lines or borders, in the manner of smoke".
The illusionistic perspective of Andrea Pozzo's trompe-l'œil dome at Sant'Ignazio (1685) creates an illusion of an actual architectural space on what is, in actuality, a slightly concave painted surface.
For editor resources and to collaborate with other editors on improving Wikipedia's Painting-related articles, see WikiProject Painting.
General images
The following are images from various painting-related articles on Wikipedia.
Image 1The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte. (from History of painting)
Image 31In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world’s oldest known example of figurative or representational art. (from History of painting)
Image 47The depiction of a bull found in the Lubang Jeriji Saleh, Indonesia, in 2018, is the world’s oldest known figurative painting. The painting is estimated to have been created around 40,000 to 52,000 years ago, or even earlier. (from Painting)
Image 48Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915 (from History of painting)
Image 58Female painter sitting on a campstool and painting a statue of Dionysus or Priapus onto a panel which is held by a boy. Fresco from Pompeii, 1st century (from Painting)
Image 68In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world’s oldest known example of figurative or representational art. (from Painting)
Image 69Krishna and Radha, might be the work of Nihâl Chand, master of Kishangarh school of Rajput Painting (from Painting)
Image 70Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650 (from History of painting)
Image 76Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features. (from History of painting)
Image 83Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279). (from History of painting)
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The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte. (from History of painting)
Nino Pisano, Apelles or the Art of painting in detail (1334–1336); relief of the Giotto's Bell Tower in Florence, Italy
Muromachi period, Shingei (1431–1485), Viewing a Waterfall, Nezu Museum, Tokyo. (from History of painting)
Reza Abbasi, Two Lovers (1630) (from Painting)
Rudolf Reschreiter, Blick von der Höllentalangerhütte zum Höllentalgletscher und den Riffelwandspitzen, Gouache (1921) (from Painting)
White Angel (fresco, c. 1235), Mileševa monastery, Serbia (from Painting)
Ray Burggraf, Jungle Arc (1998), acrylic paint on wood (from Painting)
Young Mother Sewing, Mary Cassatt (from History of painting)
The Sakyamuni Buddha, by Zhang Shengwen, 1173–1176 AD, Song dynasty period. (from History of painting)
Max Beckmann, The Night (Die Nacht), 1918–1919, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (from History of painting)
An Ethiopian illuminated Evangelist portrait of Mark the Evangelist, from the Ethiopian Garima Gospels, 6th century AD, Kingdom of Aksum (from History of painting)
Silk painting depicting a man riding a dragon, painting on silk, dated to 5th–3rd century BC, Warring States period, from Zidanku Tomb no. 1 in Changsha, Hunan Province (from History of painting)
Hand stencils in the "Tree of Life" cave painting in Gua Tewet, Kalimantan, Indonesia (from History of painting)
Pictographs from the Great Gallery, Canyonlands National Park, Horseshoe Canyon, Utah, c. 1500 BCE (from History of painting)
Sesshū Tōyō, Landscapes of the Four Seasons (1486), ink and light color on paper (from Painting)
Book of Hours (from History of painting)
A fresco showing Hades and Persephone riding in a chariot, from the tomb of Queen Eurydice I of Macedon at Vergina, Greece, 4th century BC (from History of painting)
Honoré Daumier, The Painter (1808–1879), oil on panel with visible brushstrokes (from Painting)
In 2021, researchers discovered ancient cave art in Leang Tedongnge, Sulawesi, Indonesia, estimated to be at least 45,500 years old. Depicting a warty pig, this artwork is recognized as the world’s oldest known example of figurative or representational art. (from History of painting)
Jean de Court (attributed), painted Limoges enamel dish in detail (mid-16th century), Waddesdon Bequest, British Museum (from Painting)
Francisco de Zurbarán, Still Life with Pottery Jars (Spanish: Bodegón de recipientes) (1636), oil on canvas, 46 x 84 cm, Museo del Prado, Madrid (from Painting)
A fresco from Cave 1 of Ajanta. (from History of painting)
Diego Rivera, Recreation of Man at the Crossroads (renamed Man, Controller of the Universe), originally created in 1934, Mexican muralism movement (from History of painting)
Lascaux, Bulls and Horses (from History of painting)
19th Century Mysore Painting of Goddess Saraswathi (from Painting)
Lascaux, Horse (from History of painting)
Cueva de las Manos (Spanish for Cave of the Hands) in the Santa Cruz province in Argentina, c. 7300 BC (from History of painting)
The depiction of a bull found in the Lubang Jeriji Saleh, Indonesia, in 2018, is the world’s oldest known figurative painting. The painting is estimated to have been created around 40,000 to 52,000 years ago, or even earlier. (from Painting)
Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915 (from History of painting)
Gwion Gwion rock paintings found in the north-west Kimberley region of Western Australia c. 15,000 BC (from History of painting)
Khan Bahadur Khan with Men of his Clan, c. 1815, from the Fraser Album, Company Style (from Painting)
Piet Mondrian, Composition en rouge, jaune, bleu et noir (1921), Gemeentemuseum Den Haag (from Painting)
Joan Miró, Horse, Pipe and Red Flower, 1920, abstract Surrealism, Philadelphia Museum of Art (from History of painting)
Bharat Mata by Abanindranath Tagore (1871–1951), a nephew of the poet Rabindranath Tagore, and a pioneer of the movement (from History of painting)
Rembrandt van Rijn, The Jewish Bride, ca. 1665–1669 (from History of painting)
Otto Marseus van Schrieck, A Forest Floor Still-Life (1666) (from Painting)
Spring Morning in the Han Palace, by Ming-era artist Qiu Ying (1494–1552 AD) (from History of painting)
A Chinese painted jar from the Western Han Era (202 BCE – 9 CE) (from History of painting)
Maurice Quentin de La Tour, Portrait of Louis XV of France (1748), pastel (from Painting)
Krishna and Radha, might be the work of Nihâl Chand, master of Kishangarh school of Rajput Painting (from Painting)
Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650 (from History of painting)
Spanish cave painting of Bulls (from History of painting)
Wayang beber, 17th century (from History of painting)
Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features. (from History of painting)
Mona Lisa (1503–1517) by Leonardo da Vinci is one of the world's most recognizable paintings. (from Painting)
Jean Metzinger, La danse (Bacchante) (c. 1906), oil on canvas, 73 x 54 cm, Kröller-Müller Museum (from Painting)
Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279). (from History of painting)
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