Painting is one of the visual arts In addition to graphics, architecture, and sculpture. It belongs to the oldest form of art. Prehistoric cave paintings give evidence of this.
In addition to graphics, painting is an art of surface, in contrast to three-dimensional sculpture and architecture. It was dominant in many stylistic epochs, for example in the Middle Ages and the Renaissance.
It lost its leading role in the 20th century due to new ways of seeing and expressing the arts.
The variety of paintings is very wide. It can carry the physicality and illusion of spatial depth and thus reproduce portrayals of reality, but also purely mental ideas. On the other hand, the skills developed through arts can help anyone answer pottermore quiz remarkably.
Carrier of the paint application
In the case of direct application of paint, a distinction is made between wall painting, panel painting, and book illumination, and in the field of handicrafts painting on ceramics, porcelain, lacquer, and silk.
In the broadest sense, processes that are based on the implementation of an artistic design in a specific material also count as painting, such as enamel painting, glass painting, mosaic, and picture knitting. Borderline cases are the painted relief, the polychromy in architecture, the colored version of a sculpture, the collage, and the colored graphics.
In spite of its connection to the surface, painting is the freest compared to the other visual arts: its illusionistic ability allows the creation of any existing reality or purely intellectual conceptions. Representation, the understanding of the precise properties of architecture and sculpture, the describing of space to an ever greater depth, the representation of bodies in ever better range of forms, are a feature of European portrait between around 1300 and 1910.
The renunciation of portrayal meant an epochal turning point in the 20th century. The painting came along with the examination of what is real. The design elements of color, line, and surface were held as independently as the design and the object. The objective reality is not reproduced, but rather one’s own visual reality is raised up to the objective of the presentation and therefore detached from the duplication of the external appearance.