Allegory
Allegory is a figurative mode of representation conveying meaning other than the literal. Allegory communicates its message by means of symbolic figures, actions or symbolic representation. Allegory is generally treated as a figure of rhetoric, but an allegory does not have to be expressed in language:
it may be addressed to the eye, and is often found in realistic
painting. An example of a simple visual allegory is the image of the grim reaper. Viewers understand that the image of the grim reaper is a symbolic representation of death.
Bodegón
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Bodegón or Still Life with Pottery Jars, by Francisco de Zurbarán. 1636, Oil on canvas; 46 x 84 cm; Museo del Prado, Madrid |
In Spanish art, a bodegón is a still life
painting depicting pantry items, such as victuals, game, and drink,
often arranged on a simple stone slab, and also a painting with one or
more figures, but significant still life elements, typically set in a
kitchen or tavern. Starting in the Baroque period, such paintings became popular in Spain
in the second quarter of the 17th century. The tradition of still life
painting appears to have started and was far more popular in the
contemporary Low Countries, today Belgium and Netherlands (then Flemish and Dutch artists), than it ever was in southern Europe. Northern still lifes had many sub-genres: the
breakfast piece was augmented by the
trompe-l'œil, the
flower bouquet, and the
vanitas. In Spain there were much fewer patrons for this sort of thing, but a type of
breakfast piece did become popular, featuring a few objects of food and tableware laid on a table.
Body painting
Body painting is a form of body art. Unlike tattoo and other forms of body art, body painting is temporary, painted onto the human skin, and lasts for only several hours, or at most (in the case of Mehndi or "henna tattoo") a couple of weeks. Body painting that is limited to the face
is known as face painting. Body painting is also referred to as (a form
of) temporary tattoo; large scale or full-body painting is more
commonly referred to as body painting, while smaller or more detailed
work is generally referred to as temporary tattoos.
Figure painting
A Figure painting is a work of 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 contrast subjects of art since the
first stone age cave paintings, and has been reinterpreted in various
styles throughout history. Some artists well known for figure painting
are Peter Paul Rubens, Edgar Degas, and Édouard Manet.
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Two Lovers by Reza Abbasi, 1630 |
Illustration painting
Illustration paintings are those used as illustrations in books, magazines, and theater or movie posters
and comic books. Today, there is a growing interest in collecting and
admiring the original artwork. Various museum exhibitions, magazines and
art galleries have devoted space to the illustrators of the past. In
the visual art world, illustrators have sometimes been considered less
important in comparison with fine artists and graphic designers. But as the result of computer game
and comic industry growth, illustrations are becoming valued as popular
and profitable art works that can acquire a wider market than the other
two, especially in Korea, Japan, Hong Kong and USA.
Landscape painting
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Painting by Andreas Achenbach, who specialized in the "sublime" mode of
landscape painting, in which man is dwarfed by nature's might and fury. The Walters Art Museum. |
Landscape painting
is a term that covers the depiction of natural scenery such as
mountains, valleys, trees, rivers, and forests, and especially art where
the main subject is a wide view, with its elements arranged into a
coherent composition. In other works landscape backgrounds for figures
can still form an important part of the work. Sky is almost always
included in the view, and weather
is often an element of the composition. Detailed landscapes as a
distinct subject are not found in all artistic traditions, and develop
when there is already a sophisticated tradition of representing other
subjects. The two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases.
Portrait painting
Portrait paintings are representations of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. The art of the portrait flourished in Ancient Greek and especially Roman sculpture,
where sitters demanded individualized and realistic portraits, even
unflattering ones. One of the best-known portraits in the Western world
is Leonardo da Vinci's painting titled
Mona Lisa, which is a painting of an unidentified woman.
Still life
A still life is a work of art depicting mostly inanimate
subject matter, typically commonplace objects which may be either
natural (food, flowers, plants, rocks, or shells) or man-made (drinking
glasses, books, vases, jewelry, coins, pipes, and so on). With origins
in the Middle Ages and Ancient Greek/Roman art, still life paintings
give the artist more leeway in the arrangement of design elements within
a composition than do paintings of other types of subjects such as landscape or portraiture.
Still life paintings, particularly before 1700, often contained
religious and allegorical symbolism relating to the objects depicted.
Some modern still life breaks the two-dimensional barrier and employs
three-dimensional mixed media, and uses found objects, photography,
computer graphics, as well as video and sound.
Veduta
A Veduta is a highly detailed, usually large-scale painting of a cityscape or some other vista. This genre of landscape originated in Flanders, where artists such as Paul Brill painted
vedute as early as the 16th century. As the itinerary of the Grand Tour became somewhat standardized,
vedute
of familiar scenes like the Roman Forum or the Grand Canal recalled
early ventures to the Continent for aristocratic Englishmen. In the
later 19th century, more personal "impressions" of cityscapes replaced
the desire for topographical accuracy, which was satisfied instead by
painted panoramas.
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