Portal:Pintura

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El portal de la pintura

La pintura es un arte visual que se caracteriza por la práctica de aplicar pintura , pigmento , color u otro medio a una superficie sólida (llamada "matriz" o " soporte "). El medio se aplica comúnmente a la base con un pincel , pero también se pueden utilizar otros instrumentos, como cuchillos, esponjas y aerógrafos . A quien produce pinturas se le llama pintor .

En el arte , el término "pintura" describe tanto el acto como el resultado de la acción (la obra final se denomina "pintura"). El soporte de las pinturas incluye superficies como paredes, papel, lienzo, madera, vidrio, laca , cerámica, hojas , cobre y hormigón , y la pintura puede incorporar muchos otros materiales, como arena, arcilla , papel, yeso , pan de oro e incluso objetos enteros.

La pintura es una forma importante de arte visual , que incorpora elementos como el dibujo , la composición , el gesto , la narración y la abstracción . Las pinturas pueden ser naturalistas y figurativas (como en la naturaleza muerta y la pintura de paisajes ), fotográficas , abstractas, narrativas, simbolistas (como en el arte simbolista ), emotivas (como en el expresionismo ) o de naturaleza política (como en el artivismo ).

Una parte de la historia de la pintura , tanto en el arte oriental como en el occidental, está dominada por el arte religioso . Los ejemplos de este tipo de pintura abarcan desde obras de arte que representan figuras mitológicas en cerámica , pasando por escenas bíblicas en el techo de la Capilla Sixtina , hasta escenas de la vida de Buda (u otras imágenes de origen religioso oriental ). ( Artículo completo... )

Actualizar con nuevas selecciones a continuación (purgar)

Artículos generales seleccionados

Imagen 1
Los Peintres de la Réalité [pɛ͂tʀ də la ʀealite] (en francés, "Pintores de la realidad") fueron fundados después de la Segunda Guerra Mundial por Henri Cadiou para poner en contacto a artistas especializados en naturalezas muertas y motivos de género. Más tarde evolucionó hasta convertirse en el Mouvement trompe l'oeil / Réalité. La pintura del grupo no es una reaparición de la antigüedad o del siglo XVII, sino la consecuencia lógica del lugar que ocupa en el desarrollo del siglo XX un realismo que ha tomado el relevo del surrealismo al trompe-l'œil moderno .

En 1973, el grupo expuso en el Centro Cultural de Nueva York y en la Galería Corcoran de Washington. En 1989, tras la muerte de Henri Cadiou, Pierre Gilou continuó el trabajo de su padre dentro del grupo. En 1993, el grupo tuvo un éxito sensacional en el marco del Grand Palais de París: la exposición "Le triomphe du trompe-l'oeil" atrajo a más de 65.000 visitantes en dos semanas. ( Artículo completo... )
Imagen 2
Cosecha cerca de Auvers (1890), lienzo de tamaño 30, de 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...)
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Raphael, The Expulsion of Heliodorus from the Temple, from the Vatican, 1512. The original grand manner.

Grand manner refers to an idealized aesthetic style derived from classicism and the art of the High Renaissance. In the eighteenth century, British artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities. It was Sir Joshua Reynolds who gave currency to the term through his Discourses on Art, a series of lectures presented at the Royal Academy from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the "great style" or "grand style", in reference to history painting:
:How much the great style exacts from its professors to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact, may be seen in the cartoons of Raffaelle. In all the pictures in which the painter has represented the apostles, he has drawn them with great nobleness; he has given them as much dignity as the human figure is capable of receiving yet we are expressly told in Scripture they had no such respectable appearance; and of St. Paul in particular, we are told by himself, that his bodily presence was mean. Alexander is said to have been of a low stature: a painter ought not so to represent him. Agesilaus was low, lame, and of a mean appearance. None of these defects ought to appear in a piece of which he is the hero. In conformity to custom, I call this part of the art history painting; it ought to be called poetical, as in reality it is.

Originally applied to history painting, regarded as the highest in the hierarchy of genres, the Grand Manner came thereafter also to be applied to portrait painting, with sitters depicted life size and full-length, in surroundings that conveyed the nobility and elite status of the subjects. Common metaphors included the introduction of classical architecture, signifying cultivation and sophistication, and pastoral backgrounds, which implied a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates. (Full article...)
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The idea of founding a theory of painting after the model of music theory was suggested by Goethe in 1807 and gained much regard among the avant-garde artists of the 1920s, the Weimar culture period, like Paul Klee. (Full article...)
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Le Baron de Besenval dans son salon de compagnie at the Hôtel de Besenval, by Henri-Pierre Danloux (1791). In 1786, the baron granted Luc-Vincent Thiéry privileged access to this picture cabinet, which he describes in all details in his guide on Paris, published in 1787. Colin B. Bailey notes that this intimate picture "deserves to be known as the single oil painting produced in the 18th century of a French private collector in his picture cabinet." Today the portrait is part of the collections of the National Gallery.

A cabinet painting (or "cabinet picture") is a small painting, typically no larger than two feet (0.6 meters) in either dimension, but often much smaller. The term is especially used for paintings that show full-length figures or landscapes at a small scale, rather than a head or other object painted nearly life-size. Such paintings are done very precisely, with a great degree of "finish".

From the fifteenth century onward, wealthy collectors of art would keep these paintings in a cabinet, which was a relatively small and private room (often very small even in large houses) to which only those with whom they were on especially intimate terms would be admitted. A cabinet, also known as a closet, study (from the Italian studiolo), office, or by other names, might be used as an office or just a sitting room. Heating the main rooms in large palaces or mansions in the winter was difficult, so small rooms such as cabinets were more comfortable. They offered more privacy from servants or other household members and visitors. Typically, a cabinet would be for the use of a single individual; a large house might have at least two (his and hers) and often more. (Full article...)
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The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground (linen or parchment sized with glues, resin, and gesso), and an image layer (encaustic, tempera, oil). They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state. (Full article...)
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Live painting by Beo Beyond at Shôko Club in Barcelona, working with fluorescent colors which glow under blacklight.

Live painting is a form of visual performance art in which artists complete a visual art piece in a public performance, often at a bar, music concert, wedding reception, or public event, accompanied by a DJ or live music. The artwork which is created live may be planned or improvisational. This live art form is often contrasted with more studied fine art compositions from the same artists, which are generally executed in an artist studio or other private space.

Artists in a number of genres have performed live painting, including LeRoy Neiman creating a painting during the 1976 Summer Olympics. In the 1990s and 2000s, live painting became a hallmark of street art and graffiti artists. (Full article...)
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Paintings conservation laboratory, Heritage Conservation Centre, Singapore

The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports (i.e. the painted surface made from fabric, paper, wood panel, fabricated board, or other). Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care (also known as preventive conservation) will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind. (Full article...)
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Hiroshige, The moon over a waterfall

The depiction of night in paintings is common in art in Asia. Paintings that feature the night scene as the theme are mostly portraits and landscapes. Some artworks which involve religious or fantasy topics use the quality of dim night light to create mysterious atmospheres. They tend to illustrate the illuminating effect of the light reflection on the subjects under either moonlight or artificial light sources. (Full article...)
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Lubang Jeriji Saléh cave, in Kalimantan, Indonesia, contains one of the oldest known figurative paintings, a 40,000-year-old depiction of a bull.

The history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, continents, and millennia, the history of painting consists of an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.

Developments in Eastern painting historically parallel those in Western painting, in general, a few centuries earlier. African art, Jewish art, Islamic art, Indonesian art, Indian art, Chinese art, and Japanese art each had significant influence on Western art, and vice versa. (Full article...)
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Archip Kuindshi, Moonlit Night on the Dnieper 1882

The depiction of night in paintings is common in Western art. Paintings that feature a night scene as the theme may be religious or history paintings, genre scenes, portraits, landscapes, or other subject types. Some artworks involve religious or fantasy topics using the quality of dim night light to create mysterious atmospheres. The source of illumination in a night scene—whether it is the moon or an artificial light source—may be depicted directly, or it may be implied by the character and coloration of the light that reflects from the subjects depicted. They are sometimes called nocturnes, or night-pieces, such as Rembrandt's The Night Watch, or the German Romantic Caspar David Friedrich's Two Men Contemplating the Moon of 1819.

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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Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), private collection

Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.

Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time. (Full article...)
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Volume solid is the volume of paint after it has dried. This is different than the weight solid. Paint may contain solvent, resin, pigments, and additives. Many paints do not contain any solvent. After applying the paint, the solid portion will be left on the substrate. Volume solid is the term that indicates the solid proportion of the paint on a volume basis. For example, if the paint is applied in a wet film at a 100 μm thickness and the volume solid of paint is 50%, then the dry film thickness (DFT) will be 50 μm as 50% of the wet paint has evaporated. Suppose the volume solid is 100%, and the wet film thickness is also 100 μm. Then after complete drying of the paint, the DFT will be 100 μm because no solvent will be evaporated.

This is an important concept when using paint industrially to calculate the cost of painting. It can be said that it is the real volume of paint. (Full article...)
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Neo-Baroque frame of a 19th-century painting

A picture frame is a protective and decorative edging for a picture, such as a painting or photograph. It makes displaying the work safer and easier and both sets the picture apart from its surroundings and aesthetically integrates it with them. (Full article...)
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KJ 314

Industrial paint robots have been used for decades in automotive paint applications.

Early paint robots were hydraulic versions, which are still in use today but are of inferior quality and safety to the latest electronic offerings. The newest robots are accurate and deliver results with uniform film builds and exact thicknesses. (Full article...)
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House painters working in Capri, Italy

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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Raking light across a wall, gives a relief like impression.

Raking light, the illumination of objects from a light source at an oblique angle or almost parallel to the surface, provides information on the surface topography and relief of the artefact thus lit. It is widely used in the examination of works of art. (Full article...)
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Frans Hals,
Malle Babbe, about 1633, Gemäldegalerie, Berlin

Painterliness is a concept based on German: malerisch ('painterly'), a word popularized by Swiss art historian Heinrich 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 painting is said to be painterly when there are visible brushstrokes in the final work – the result of applying paint in a manner that is not entirely controlled, generally without closely following carefully drawn lines. Any painting media – oils, acrylics, watercolors, gouache, etc. – can produce either linear or painterly work. Some artists whose work could be characterized as painterly are Pierre Bonnard, Francis Bacon, Vincent van Gogh, Rembrandt, Renoir, John Singer Sargent, and Andrew Wyeth (his early watercolors). The Impressionists, Fauvists and the Abstract Expressionists tended strongly to be painterly. (Full article...)
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The Golden Apple of Discord at the wedding of Peleus and Thetis, Jacob Jordaens, 1633, 181 cm × 288 cm (71 in × 113 in), oil on canvas

A figure painting is a work of fine art in any of the painting media with the primary subject being the human figure, whether clothed or nude. Figure painting may also refer to the activity of creating such a work. The human figure has been one of the constant subjects of art since the first Stone Age cave paintings, and has been reinterpreted in various styles throughout history.

Unlike figure drawings which are usually nudes, figure paintings are often clothed depictions which may be either historically accurate or symbolic.
Figure painting is not synonymous with figurative art, which may depict real objects of any kind (including humans and animals). (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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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...)
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David (1504)
"What spirit is so empty and blind, that it cannot recognize the fact that the foot is more noble than the shoe, and skin more beautiful than the garment with which it is clothed?"
— Michelangelo

The nude, as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. It was a preoccupation of Ancient Greek art, and after a semi-dormant period in the Middle Ages returned to a central position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts. From prehistory to the earliest civilizations, nude female figures were generally understood to be symbols of fertility or well-being.

In India, the Khajuraho Group of Monuments built between 950 and 1050 CE are known for their nude sculptures, which comprise about 10% of the temple decorations, a minority of them being erotic. Japanese prints are one of the few non-western traditions that can be called nudes, but the activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West. Through each era, the nude has reflected changes in cultural attitudes regarding sexuality, gender roles, and social structure. (Full article...)
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John the Baptist (John in the Wilderness), by Caravaggio, 1604, in the Nelson-Atkins Museum of Art, Kansas City

Tenebrism, from Italian tenebroso ("dark, gloomy, mysterious"), also occasionally called dramatic illumination, is a style of painting using especially pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and is common in Baroque paintings. Tenebrism is used only to obtain a dramatic impact while chiaroscuro is a broader term, also covering the use of less extreme contrasts of light to enhance the illusion of three-dimensionality. (Full article...)
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BALVINO MAURICIO, José Honorato Lozano, 1864

Letras y figuras (Spanish, "letters and figures") is a genre of painting pioneered by José Honorato Lozano during the Spanish colonial period in the Philippines. The art form is distinguished by the depiction of letters of the alphabet using a genre of painting that contoured shapes of human figures, animals, plants, and other objects called Tipos del País popularized by Damián Domingo. The letters depicted spell out a phrase or a name, usually that of the patron who commissioned the work. The paintings were done with watercolor on Manila paper. The earliest example of this art form dates from 1845; the latest existing specimens were completed during the latter portion of the American period in the 1930s during the administration of the Commonwealth of the Philippines.

In 1995, an album of José Honorato Lozano's paintings were auctioned at Christie’s at the starting bid of £300,000. (Full article...)
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La Vie by Pablo Picasso, 1903; falling under the "style label" of Picasso's Blue Period

In the visual arts, style is a "... distinctive manner which permits the grouping of works into related categories" or "... any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". Style refers to the visual appearance of a work of art that relates to other works with similar aesthetic roots, by the same artist, or from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been historian's principal mode of classifying works of art".

Style can be divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as Picasso for example, these divisions may be marked and easy to see; in others, they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, from the very slow development in style typical of prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development. (Full article...)

Técnicas de pintura seleccionadas

Image 1
Rayas finas en el tanque de combustible de una motocicleta.

El rayado con alfileres (o pinstriping ) es la aplicación de una línea muy fina de pintura u otro material llamada raya con alfileres, y generalmente se utiliza para decoración. Los rayadores con alfileres a mano alzada utilizan un pincel especial conocido como pincel de rayado con alfileres .

Los talleres de automoción, de bicicletas y los mecánicos de coches y motos que lo hacen ellos mismos utilizan el rayado con alfileres para crear su propio aspecto personalizado en las carrocerías y piezas de los automóviles. ( Artículo completo... )
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A rotary atomizer is an automatic electrostatic paint applicator used in high volume, automatic production painting environments. Also called a 'paint bell', "rotary bell atomizer" or 'bell applicator', it is preferred for high volume paint application for its superior transfer efficiency, spray pattern consistency, and low compressed air consumption, when compared to a paint spray gun. It can be mounted in a fixed position, reciprocating arm, or an industrial robot. (Full article...)
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French Atelier of Painters: titled "School of Fine Arts - Painter Workshop" (Ecole des Beaux-Arts - Atelier de Peintre)

An atelier (French: [atəlje]) is the private workshop or studio of a professional artist in the fine or decorative arts or an architect, where a principal master and a number of assistants, students, and apprentices can work together producing fine art or visual art released under the master's name or supervision.

Ateliers were the standard vocational practice for European artists from the Middle Ages to the 19th century, and common elsewhere in the world. In medieval Europe this way of working and teaching was often enforced by local guild regulations, such as those of the painters' Guild of Saint Luke, and of other craft guilds. Apprentices usually began working on simple tasks when young, and after some years with increasing knowledge and expertise became journeymen, before possibly becoming masters themselves. This master-apprentice system was gradually replaced as the once powerful guilds declined, and the academy became a favored method of training. However, many professional artists continued using students and assistants as they had been in ateliers; sometimes the artist paid the student-assistants, while sometimes they paid the artist fees to learn. (Full article...)
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Working in layers is a system for creating artistic paintings that involve the use of more than one layer of paint. (Full article...)
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The Creation of Adam, a detail of the fresco Sistine Chapel ceiling by Michelangelo

Fresco (pl. frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.

The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster. Even in apparently buon fresco technology, the use of supplementary organic materials was widespread, if underrecognized. (Full article...)
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Overspray refers to the application of any form of paint, varnish, stain or other non-water-soluble airborne particulate material onto an unintended location. This concept is most commonly encountered in graffiti, auto detailing, and when commercial paint jobs drift onto unintended objects. (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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Installation view of Irrational Geometrics 2008 by Pascal Dombis

Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.

"Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. (Full article...)
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Splashed-ink Landscape (破墨山水, Haboku sansui) by Sesshū Tōyō, 1495
Haboku (破墨) and Hatsuboku (溌墨) are both painting techniques employed in suiboku (ink-wash painting) in China and Japan, as seen in landscape paintings, involving an abstract simplification of forms and freedom of brushwork. The two terms are often confused with each other in ordinary use. Generally, haboku relies on a layered contrast black, gray and white, whereas hatsuboku utilizes "splashes" of ink, without leaving clear contours or outlines. The style apparently started in the Tang dynasty China with the painter Wang Qia (王洽, fl. 785–805, also known as Wang Mo), but unfortunately none of his paintings remains. According to Zhu Jingxuan:
Whenever he wanted to paint a picture, Wang Mo would first drink wine, and when he was sufficiently drunk, would splash the ink onto the painting surface. Then, laughing and singing all the while, he would stamp on it with his feet and smear it with his hands, besides swashing and sweeping it with the brush. The ink would be thin in some places, rich in others; he would follow the shapes which brush and ink had produced, making these into mountains, rocks, clouds and mists, wash in wind and rain, with the suddenness of Creation. It was exactly like the cunning of a deity; when one examined the painting after it was finished he could see no traces of the puddles of ink.
During the Song dynasty, some landscapes of Mu Qi's paintings on the Xiao and Xiang rivers exhibit many of its characteristics, and were highly praised in Japan. It was with Yu Jian (玉澗) in China when we have the first paintings in the style, for example Evening Market. In Japan, these styles of painting were spread by the Japanese painter Sesshū Tōyō. Later, the Kano school of painting also made many paintings in this style. (Full article...)
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In art, an underpainting is an initial layer of paint applied to a ground, which serves as a base for subsequent layers of paint. Underpaintings are often monochromatic and help to define color values for later painting. Underpainting gets its name because it is painting that is intended to be painted over (see overpainting) in a system of working in layers.

There are several different types of underpainting, such as veneda, verdaccio, morellone, imprimatura and grisaille. The different types have different colourings. Grisaille is plain grey. Verdaccio is a grey tending towards yellow or green that brings out more luminous tones, while imprimatura uses earth tones. (Full article...)
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Painting of a dragon (China)

Silk painting refers to paintings on silk. They are a traditional way of painting in Asia. Methods vary, but using traditional supplies of 100% silk fabric, stretched in a frame, and applying textile paints or dyes are the beginnings of the process of making textile art. (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.

The classic East Asian tradition of ink wash painting uses black ink in various levels of dilution. Historically associated with the four arts of the scholar-officials, the technique was often applied to landscapes in traditional Chinese, Japanese, and Korean painting. (Full article...)
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The Ghent Altarpiece by Jan van Eyck and his brothers, 1432. A large altarpiece on panel. The outer wings are hinged, and painted on both sides.

A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not painting directly onto a wall (fresco) or on vellum (used for miniatures in illuminated manuscripts). Wood panels were also used for mounting vellum paintings. (Full article...)
Image 14
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.

Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer. It is frequently used to create the illusion of an open sky, such as with the oculus in Andrea Mantegna's Camera degli Sposi, or the illusion of an architectural space such as the cupola, one of Andrea Pozzo's frescoes in Sant'Ignazio, Rome. Illusionistic ceiling painting belongs to the general class of illusionism in art, designed to create accurate representations of reality. (Full article...)
Image 15
1883 reconstruction of color scheme of the entablature on a Doric temple

Polychrome is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors." The term is used to refer to certain styles of architecture, pottery, or sculpture in multiple colors.

When looking at artworks and architecture from antiquity and the European Middle Ages, people tend to believe that they were monochrome. In reality, the pre-Renaissance past was full of colour, and all the Greco-Roman sculptures and Gothic cathedrals, that are now white, beige, or grey, were initially painted in bright colours. As André Malraux stated: "Athens was never white but her statues, bereft of color, have conditioned the artistic sensibilities of Europe [...] the whole past has reached us colorless." Polychrome was and is a practice not limited only to the Western world. Non-Western artworks, like Chinese temples, Oceanian Uli figures, or Maya ceramic vases, were also decorated with colours. (Full article...)
Image 16
Carnation (Latin, caro, carnis, “flesh”), in painting, refers to the representation of color of flesh. It is also used in describing a painting or drawing to signify the undraped parts of a figure. (Full article...)
Image 17
A drawing of an airplane with motion lines to indicate that it is moving fast

In comics and art more broadly, motion lines (also known as movement lines, action lines, speed lines, or zip ribbons) are the abstract lines that appear behind a moving object or person, parallel to its direction of movement, to make it appear as if it is moving quickly. They are common in Japanese manga and anime, of which Speed Racer is a classic example.

Lines depicting wind and the trajectory of missiles appear in art as early as the 16th century. By the 19th century artists were drawing naturally occurring speed lines when showing the passage of an object through water or snow, but it was not until the 1870s that artists like Wilhelm Busch and Adolphe Willette began drawing motion lines to depict the movement of objects through air. (Full article...)
Image 18
Paasche F#1 Single-action external mix airbrush

An airbrush is a small, air-operated tool that atomizes and sprays various media, most often paint, but also ink, dye, and foundation. Spray painting developed from the airbrush and is considered to employ a type of airbrush. (Full article...)
Image 19

Overpainting is the final layers of paint, over some type of underpainting, in a system of working in layers. It can also refer to later paint added by restorers, or an artist or dealer wishing to "improve" or update an old image—a very common practice in the past. The underpainting gives a context in which the paint-strokes of the overpainting become more resonant and powerful. When properly done, overpainting does not need to completely obscure the underpainting. It is precisely the interaction of the two that gives the most interesting effects.

Overpainting was used extensively in many schools of art. Some of the most spectacular results can be seen in the work of Jan van Eyck. (Full article...)
Image 20
Beach scene with bacterial strains expressing different kinds of fluorescent protein, from the laboratory of the Nobel Prize–winning biochemist Roger Tsien

Microbial art, agar art, or germ art is artwork created by culturing microorganisms in certain patterns. The microbes used can be bacteria, yeast, fungi, or less commonly, protists. The microbes can be chosen for their natural colours or engineered to express fluorescent proteins and viewed under ultraviolet light to make them fluoresce in colour. (Full article...)
Image 21
A Girl Defending Herself Against Eros, by William-Adolphe Bouguereau, reflects the licked finish style; the brushstrokes are as invisible as possible, so as to make the painting appear more lifelike and minimize emphasis on the work's origin of painting and brushwork.

A licked finish is a hallmark of French academic art. It refers to the process of smoothing the surface quality of a painting so that the presence of the artist's hand is no longer visible. It was codified by the French Academy in the eighteenth century in order to distinguish 'professional' art from that produced by amateurs.

Jean Auguste Dominique Ingres summed up the academic technique: "The brushstroke, as accomplished as it may be, should not be visible: otherwise, it prevents the illusion, immobilizes everything. Instead of the object represented, it calls attention to the process: instead of the thought, it betrays the hand." (Full article...)
Image 22
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...)
Image 23
Buon fresco (Italian for 'true fresh') is a fresco painting technique in which alkaline-resistant pigments, ground in water, are applied to wet plaster.

It is distinguished from the fresco-secco (or a secco) and finto fresco techniques, in which paints are applied to dried plaster. (Full article...)
Image 24
Brain painting is a non-invasive P300-based brain-computer interface (BCI) that allows painting without the use of muscular activity. The technology combines electroencephalography, signal processing algorithms and visual stimulation on a monitor to detect where the user focuses his attention, allowing him to voluntarily trigger commands to a painting software. The research project aims at assisting people afflicted with the Locked-in syndrome due to neurological or neuromuscular disease (e.g. amyotrophic lateral sclerosis ALS), who are severely restricted in communication with their environment, and therefore cut off from the possibility of creative expression. (Full article...)
Image 25
Madonna painting on caterpillar silk, Chester Cathedral

Cobweb painting, sometimes known as gossamer painting, is the delicate process of painting on canvases made from caterpillar and spider webs that have been collected, layered, cleaned, and framed. Fewer than 100 cobweb paintings are known to exist, many of which are housed in private collections. (Full article...)

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Imágenes generales

Las siguientes son imágenes de varios artículos relacionados con la pintura en Wikipedia.

Image 1La Mona Lisa (1503-1517) de Leonardo da Vinci es una de las pinturas más reconocibles del mundo. (de Pintura )
Image 2Eland , pintura rupestre , Drakensberg , Sudáfrica (de Historia de la pintura )
Image 3Refugios rocosos de Bhimbetka , pintura rupestre , Edad de Piedra , India (de Historia de la pintura )
Image 4Henri Matisse 1909, Fauvismo tardío (de Historia de la pintura )
Image 5Pintora sentada en un taburete pintando una estatua de Dioniso o Príapo sobre un panel que sostiene un niño. Fresco de Pompeya , siglo I (de Pintura )
Image 6Maurice Quentin de La Tour , Retrato de Luis XV de Francia (1748), pastel (de Pintura )
Image 7 Pintura mural funeraria griega helenística en terracota , siglo III a. C. (de Historia de la pintura )
Image 8Ned Bittinger , Retrato de Abraham Lincoln en el Congreso (2004), Capitolio de los Estados Unidos (de la pintura )
Image 9Juan Luna , La Bulaqueña , 1895 (de Historia de la pintura )
Image 10Andreas Achenbach , Limpieza de la costa de Sicilia (1847), Museo de Arte Walters (de Pintura )
Image 11Piet Mondrian , Composición en rojo, amarillo, azul y negro (1921), Gemeentemuseum Den Haag (de Pintura )
Image 12Georges Seurat , Desfile de circo ( en francés : Parade de cirque ) (1887-1888)
Image 13Edward Hopper , Nighthawks , 1942, una pintura de una escena americana (de Historia de la pintura )
Image 14John Martin , Manfred en la Jungfrau (1837), acuarela (de Pintura )
Image 15Lascaux , Uro ( Bos primigenius primigenius ) (de Historia de la pintura )
Image 16Ángel blanco (fresco, c. 1235), monasterio de Mileševa, Serbia (de Pintura )
Image 17Liang Kai , Celestial borracho (siglo XII), tinta sobre papel Xuan (de Pintura )
Image 18Reza Abbasi , Dos amantes (1630) (de Pintura )
Image 19Un retrato evangelista etíope iluminado de Marcos el evangelista , de los evangelios etíopes de Garima , siglo VI d. C., Reino de Aksum (de Historia de la pintura )
Image 20El emperador Qianlong practica la caligrafía , mediados del siglo XVIII (de Historia de la pintura )
Image 21Bharat Mata de Abanindranath Tagore (1871-1951), sobrino del poeta Rabindranath Tagore y pionero del movimiento (de Historia de la pintura )
Image 22Lascaux , Caballo (de Historia de la pintura )
Image 23Rembrandt van Rijn , La novia judía , ca. 1665-1669 (de Historia de la pintura )
Image 24La Impresión, sol naciente de Claude Monet de 1872 inspiró el nombre del movimiento (de Pintura )
Image 25Madre joven cosiendo , Mary Cassatt (de Historia de la pintura )
Image 26La pintura figurativa más antigua conocida es una representación de un toro que fue descubierta en la cueva Lubang Jeriji Saléh en Indonesia . Fue pintada hace entre 40.000 y 52.000 años o antes. (de Pintura )
Image 27Mañana de primavera en el palacio Han , del artista de la era Ming Qiu Ying (1494-1552 d. C.) (de Historia de la pintura )
Image 28Pintura rupestre prehistórica de uros ( en francés : Bos primigenius primigenius ), Lascaux , Francia (de Pintura )
Image 29Petroglifos de Suecia, Edad del Bronce Nórdica (pintados) (de Historia de la pintura )
Image 30Francis Picabia , (izquierda) Le saint des saints c'est de moi qu'il s'agit dans ce retrato , 1 de julio de 1915; (centro) Portrait d'une jeune fille americaine dans l'état de nudité , 5 de julio de 1915: (derecha) 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 , Nueva York, 1915 (de Historia de la pintura )
Image 31Otto Marseus van Schrieck , Naturaleza muerta en el suelo del bosque (1666) (de Pintura )
Image 32Giorgio de Chirico 1914, pre- Surrealismo (de Historia de la pintura )
Image 33Un fresco que muestra a Hades y Perséfone montados en un carro , de la tumba de la reina Eurídice I de Macedonia en Vergina , Grecia, siglo IV a. C. (de Historia de la pintura )
Image 34Pinturas rupestres de Gwion Gwion encontradas en la región noroccidental de Kimberley, en Australia Occidental, alrededor del año 15.000 a. C. (de Historia de la pintura )
Image 35Honoré Daumier , El pintor (1808-1879), óleo sobre tabla con pinceladas visibles (de Pintura )
Image 36Dos escribas sentados con libros y una mesa de escritura Fragmento de un margen decorativo Norte de la India (escuela mogol), ca. 1640-1650 (de Historia de la pintura )
Image 37Francisco de Zurbarán , Naturaleza muerta con vasijas de cerámica ( español : Bodegón de recipientes ) (1636), óleo sobre lienzo, 46 x 84 cm, Museo del Prado , Madrid (de Pintura )
Image 38Morgan Russell , Sincromía cósmica (1913-14), Sincromismo (de Historia de la pintura )
Image 39Yun Bing , Hoja de álbum (siglo XVII), tinta y color sobre papel (de Pintura )
Image 40Icono encáustico del Monasterio de Santa Catalina , Egipto (siglo VI) (de Pintura )
Image 41Rudolf Reschreiter, Blick von der Höllentalangerhütte zum Höllentalgletscher und den Riffelwandspitzen , Gouache (1921) (de Pintura )
Image 42La cueva de Pettakere tiene más de 44.000 años de antigüedad, Maros , Sulawesi del Sur , Indonesia (de Historia de la pintura )
Image 43Refugios rocosos de Bhimbetka , pintura rupestre , Edad de Piedra , India (de Historia de la pintura )
Image 44Max Ernst , 1920, surrealismo temprano (de Historia de la pintura )
Image 45Paul Klee , 1922, Bauhaus (de Historia de la pintura )
Image 46Diosa Madre Una pintura en miniatura del estilo Pahari , que data del siglo XVIII. Las miniaturas Pahari y Rajput comparten muchas características comunes. (de Historia de la pintura )
Image 47Libro de Horas (de Historia de la pintura )
Image 48Wayang beber , siglo XVII (de Historia de la pintura )
Image 49Edvard Munch , 1893, ejemplo temprano del expresionismo (de Historia de la pintura )
Image 50Jean Metzinger , La danse (Bacchante) ( c. 1906 ), óleo sobre lienzo, 73 x 54 cm, Museo Kröller-Müller (de Pintura )
Image 51Khan Bahadur Khan con hombres de su clan, c. 1815, del Álbum Fraser, estilo Compañía (de Pintura )
Image 52El Buda Sakyamuni , de Zhang Shengwen , 1173-1176 d. C., período de la dinastía Song . (de Historia de la pintura )
Image 53Pintura rupestre española de toros (de Historia de la pintura )
Image 54Brice Marden , 1966/1986, Pintura monocromática (de Historia de la pintura )
Image 55Joan Miró , Caballo, pipa y flor roja , 1920, surrealismo abstracto, Museo de Arte de Filadelfia (de Historia de la pintura )
Image 56Chen Hongshou (1598-1652), Pintura de álbum de hojas ( dinastía Ming ) (de Pintura )
Image 57Hace entre 30.000 y 32.000 años se pintó en la cueva de Chauvet una representación artística de un grupo de rinocerontes . (de Pintura )
Image 58Pierre Bonnard , 1913, pintura narrativa modernista europea (de Historia de la pintura )
Image 59Grant Wood , 1930, realismo social (de Historia de la pintura )
Image 60Marcel Duchamp , Desnudo bajando una escalera, n.º 2 , 1912, Museo de Arte de Filadelfia (de Historia de la pintura )
Image 61Krishna y Radha , podrían ser obra de Nihâl Chand , maestro de la escuela de pintura Rajput de Kishangarh (de Pintura )
Image 62Un fresco de la cueva 1 de Ajanta. (de Historia de la pintura )
Image 63Barnett Newman , Grabado sin título 1 (primera versión) , 1968, Minimalismo (de Historia de la pintura )
Image 64Diego Rivera , Recreación del hombre en la encrucijada (retitulada El hombre, controlador del universo ), creada originalmente en 1934, movimiento muralista mexicano (de Historia de la pintura )
Image 65Pintura de la diosa Saraswathi del siglo XIX en Mysore (de Painting )
Image 66Jean de Court (atribuido), plato de esmalte de Limoges pintado en detalle (mediados del siglo XVI), legado de Waddesdon , Museo Británico (de Pintura )
Image 67Sandro Botticelli , El nacimiento de Venus , témpera (1485-1486) (de Pintura )
Image 68Un jarrón chino pintado de la era Han occidental (202 a. C. – 9 d. C.) (de Historia de la pintura )
Image 69Patrick Henry Bruce , modernismo americano , 1924 (de Historia de la pintura )
Image 70Pictografías de la Gran Galería del Parque Nacional Canyonlands, Horseshoe Canyon , Utah , c. 1500 a. C. (de Historia de la pintura )
Image 71Juan Luna , La vida parisina , 1892 (de Historia de la pintura )
Image 72El Padre Eterno pintando a la Virgen de Guadalupe . Atribuido a Joaquín Villegas (1713 – activo en 1753) (mexicano) (pintor, Museo Nacional de Arte . (de Historia de la pintura )
Image 73Lascaux , Toros y caballos (de Historia de la pintura )
Image 74Pintura en seda que representa a un hombre montado en un dragón , pintura sobre seda , datada entre el siglo V y el III a. C., período de los Reinos Combatientes , de la tumba Zidanku n.º 1 en Changsha ,provincia de Hunan (de Historia de la pintura )
Image 75Piet Mondrian , "Composición nº 10" 1939-1942, De Stijl (de Historia de la pintura )
Image 76Nino Pisano , Apeles o el arte de pintar en detalle (1334-1336); relieve del campanario de Giotto en Florencia , Italia
Image 77Periodo Muromachi , Shingei (1431-1485), Observando una cascada , Museo Nezu, Tokio. (de Historia de la pintura )
Image 78Cueva de las Manos en la provincia de Santa Cruz, Argentina, c. 7300 a. C. (de Historia de la pintura )
Image 79Sesshū Tōyō , Paisajes de las cuatro estaciones (1486), tinta y color claro sobre papel (de Pintura )
Image 80Nísperos y pájaro de montaña , artista anónimo de la dinastía Song del Sur ; pinturas en estilo de álbum de hojas como ésta eran populares en la dinastía Song del Sur (1127-1279). (de Historia de la pintura )
Image 81Max Beckmann , La noche (Die Nacht) , 1918-1919, Kunstsammlung Nordrhein-Westfalen , Düsseldorf (de Historia de la pintura )
Image 82Plantillas de manos en la pintura rupestre "El árbol de la vida" en Gua Tewet, Kalimantan , Indonesia (de Historia de la pintura )
Image 83Ray Burggraf , Jungle Arc (1998), pintura acrílica sobre madera (de Painting )
Image 84El bautismo de Cristo en una pintura nubia medieval de Old Dongola (de Historia de la pintura )