Painting is a type of view of fine art and artistic works which are created using paint that painted on any hard surface. Like other forms of art, fine art is the ideological and cognitive tasks, as well as the creation of an area subject to aesthetic values, as one of the highly developed forms of human labor.

   Art reflects the light of the ideological or spiritual concepts that evaluates the contents of the era, of its social development, as such the Art itself becomes a public sphere of the fight. Powerful effects on thoughts and feelings of the audience, forcing the last to experience the reality of artist, Art is an effective tool for public education. Many works of Art have documented and information value.

   In Painting pronounces the common properties of art, which N.G.Chernyshevsky called as «a textbook of life». Because of the visibility of the image evaluation of the life of the painter, that expressed in a product of Painting, there is a special credibility to the audience. Creating artistic images, painting uses color and pattern, expressive strokes, which provides the flexibility of the language allows it inaccessible to other types of fine art complete play on the plane colorful richness of the world volume of items, their quality and originality of the material body, drawn deep space light and air. Those works of Painting is invariable, created pictures is visually simultaneous, but Art can transfer not only the condition of absolute static, but also a sense of temporal development, the emotional saturation point and a passing instant situation, as well as the effect of traffic changes (due to the special rhythmic organization of the image, the dynamics of color , light and shade, composition, lines, strokes, etc.) may be deployed in Painting narrative, the complex meaning. All this allows Painting is not only directly and clearly to embody all the visible phenomena of real world (including the nature in the various conditions), show a broad picture of people’s lives, but also strive to discover the interpretation of the essence in performing the processes of life, inner world of human , to express abstract ideas.

   Available to Painting breadth and completeness of coverage of real impact cause inherent in the genre (historical, home, battle, etc.).

  By appointment and by the nature of performance images are distinguish: monumental-decorative Paintings (wall paintings, plafonds, panels), that are participating in the organization of architectural space which creates an ideologically-saturated environment for human beings; Easel (picture) is more intimate by nature and are not usually associated to a certain place; decorative (theatrical and movie sketches and costumes), icon painting, thumbnail ( illustrations, portraits, etc.). The varieties of Painting include diorama and panorama. The nature of the substances binding pigment (dye) the technological means of the pigment on the surface are differs oil paintings, water colors painting on stucco - wet (fresco) and dry (sekko), tempera, glue painting, wax painting, enamel, painting with ceramic colors (linked - low-melting glass fluxes, glazes - fixed roasting on ceramics), painting with silicate paints (binder - water-glass), etc. Directly to Painting cross-cutting mosaics and stained-glass window, address the same as that of monumental painting, visual-decorative tasks. For the execution of paintings are also a watercolor, gouache, pastel, ink.

   The main expressive means is color and his expression, the ability to cause various sensual associations strengthens emotional images which hence the extensive fine and decorative possibilities. In work of art it forms a coherent system (color). It usually applies a series of interlocking colors and shades (color range), although there is also a Painting shades of one color (monochrome). Color composition (the system of relationships between spots of color) provides a certain unity of color works, influence to the course of perception of the viewer, as the specific works of art of the structure (see Composition). Other expressive means is drawing (line and chiaroscuro) - rhythmically and composition along with color organizes image, line is distinguishes from each other by volume and often is a constructive basis for a picturesque form that allows generalized or reproduce in detail the outlines of objects, identify their smallest elements.

   Generally there are two different types of images: linear Flatwise and three-dimensional, but among them there are no clear boundaries. A linear plane Painting characterized by flat patches of local color, defined expressive contours, precise and rhythmic line of the ancient and partly modern Painting that meets the conditional means of spatial construction and reproduction of items (sometimes appearing simultaneously from different sides), which reveal a certain logic image to viewer , placement of objects in space, but did not violate the two-dimensional plane of the picturesque. This Painting, with its strong conditional and decorative, in many eras functioned as primary in the ensemble of architecture, under the surface of walls and architectural cordon, more or less of the plane were in certain times and miniatures, icons, and at the end of 19-20 centuries . - Many pictures. Arisen in the quest for true antique reproduction of the real world, the way it sees people, gave rise to three-D images ( to which is connected the emergence of a personal contemplation to Easel Painting, the release from the subordination of architecture, in many ways and decorative features). Three-dimensional image, as well as linearly Flatwise can use the expressive lines and the local color, the effect of volume, even sculptural, achieved gradation of light and dark tones, are well-distributed in a limited color spot in such cases it is often variegated colors, shapes and objects do not merge with the surrounding area into a coherent whole. Richer visual possibilities of tone painting (see tone), which through a complex and dynamic development of the color shows how subtle changes in color, and his tone depending on the lighting (see Valerie) and the interaction of a number of underlying colors (reflexes), the general tone combines objects with surrounding light and air and space, however the line often loses its role of forming, absorbing by anxious colorful mass. In the Painting of China, Japan, Korea, are special type of spatial images, caused by a kind of artistic vision of East painters who like to include themselves in the image, feels as one of the elements of the universe. In this kind of Painting, there is a sense of infinite seen from above the space, with the disappearing into the distance and not converging to a depth of parallel lines, the cut-off molding is missing, figures and objects almost have no volume, their position in space showing mainly the relation of tones.

   The work of art consists of a framework (oil on canvas, wood, paper, cardboard, stone, glass, metal, etc.), usually covered with primer paint layers, sometimes protected with a surface layer of varnish. Fine and expressive possibilities of fine art, especially technology letters largely depend on the properties of paints, which are attributable to the degree of comminution of pigments and binding nature of the tool, with which works the artist (brush, pallet-knife), from used solvents, smooth or rough surface of the foundation of the ground that influence on the methods of the overlay colors on the texture of the works of Art and translucent color of the foundation or ground - in color, sometimes free of the paint base or soil may play a role in the construction of color (primarily in watercolor) . The surface layer of paint works is texture, it can be glossy and matte, fusion or discontinuous, smooth or rough. Required color or shade is achieves as a mix of colors in the palette and as the glaze, a number of provisions strokes of different colors may be at a certain distance of a jumble in front of the audience. Style is connected with the features of scenic painting techniques, compositions (or icons) and the interior for which it is created, (most often - a rectangular, less often - a round or oval) and sometimes the nature of the frame, distinguished picture from the environment and focuses the viewer on the image. The process of creating paintings or wall-paintings (introduced drafts and sketches, which specifies design artist who developed the details, composition, color of the future product) may fall into several stages, particularly clear and consistent in medieval tempera and classic oil paintings (picture on the ground building composition and outlining main cut-off ratio; glaze, that rich saturates a color of picture). But there is a more impetuous Painting nature which allows the artist to directly and dynamically embody their life experiences (especially in alla prima`s works), thanks to the simultaneous work on a drawing, composition, molding shapes and colors.

   The history of painting.
Art emerged in the era of the late Paleolithic (40-8 thousand years ago). There are rock paintings (in the caves of Font-de-Gom in the South of France, Altamira in northern Spain and others) performed by earth colors (red, yellow and brown ochra, umber), black soot and charcoal using split sticks, pieces of fur and just your fingers; created truthful, expressive, dynamic images of individual animals, and then the hunting scenes. In Paleolithic Art found a linear silhouette images and Modeling simple, but composite top was still weak. The more developed and more abstract synthesis of the world reflected in the abstract-rhythmic Neolithic Paintings (petroglyph in Valtorte, Spain), in the neolithic images appear a human which deliberately connected in the narrative cycles.

   Painting of slave-owning system society had already developed like the system with rich technical resources; paints (earth - yellow, red and brown; mineral - navy blue and azure) spread paint lightly on the white ground; new excipient came to hand (albumin, casein, glyutin, gummed tar), hair brushes .

   In the eastern despotism (ancient Egypt and other countries), in ancient America, there was a monumental Art (painting on tombs, more rarely on the buildings), usually associated with the funeral cult and had deployed-narrative theme, the most important place was occupied by the generalized and often schematic picture of human. In this strong canonized Painting images, especially in the composition, the ratio between the figures reflected in the slave-owning system society a rigid hierarchy. Ancient Art also had decorative characteristic, its flatness stressed the surface of the wall. Especially high perfection reached painting in ancient Egyptian tombs (picture of afterlife, including domestic and battle scenes, animalistic images), with its musical rhythm and clarity of composition, refined lines.

   In ancient times Painting was still continue to be in the synthesis with architecture and sculpture was in service not only to religious but also to secular purposes; happened (especially in ancient Greece) public osmosis (including moral and educational) of Painting significance as in all art in general. Gradually revealed new specific opportunities of Painting giving us greater reality on display in distinction from sculpture, seeking to fulfill the full-sensual of the world. In addition to the mythological established domestic and historical scenes, landscapes, portraits, still-lifes. Decorated temples, dwellings, tombs, the value of monumental-decorative Painting (frescoes and mosaics, well-kept in Pompey, Gerkulanum, Pestum, Kazanlak, Northern Black Sea) as a result of long-term development has come to change the illusion of architectural space and architectural forms. Ancient fresco (in the multilayer plaster with some marble dust in the upper layers) had a brilliant glossy surface. In ancient Greece there was almost no surviving so far easel Painting (on boards, more rarely on a canvas) that mainly performed in encaustic technique (see Wax painting; rarely used tempera paints and glue), which allows to shape volumes, Fayum`s portraits gave some of the Antique Easel Painting.

   In the Middle Ages, in the Art of Western Europe in such countries as Byzantium, Russia, the Caucasus, the Balkans evolved that followed the line of the Christian church ideology, created the religious and ascetic images, full of spiritual expression. Despite the strict canonizations of images in medieval pictures found an echo of popular views (for example, in Russia in the icons and frescoes of Theophanes Greek, Andrey Rublev, Dionysius) and (often naïve) the observations. The main types of Painting are fresco (on the dry and wet often rough stucco roughcast on stone or brick), icon painting (the icons were painted on a ground boards mostly with egg tempera, deter mainly planar forms of treatment), and also miniature in Manuscripts (on a ground or parchment paper; performed tempera, watercolors, gouache, adhesives and paints etc.); consistency of performance, image type, composition, colors - everything are regulated. Done with care in handicraft work style icons and wall paintings (subordinate an architectural cordon and the plane wall), and also mosaics, stained glass along with the architecture formed in church interiors the single ensemble. Emotionalism and decorativeness of Medieval Painting according to sonorous expression, rich colors and focus-smooth line of clear expression units; the forms in medieval Painting are plane, stylized, abstract background, often gold, there are also conventional methods Modeling of volumes, as relieve on a picturesque plane devoid of depth. Significant role played symbols and colors (for example, in Western European fine art blue is the color of the Virgin Mary). In the 1st millennium A.D enjoy a boom in monumental Painting in West and and Central Asia, China, India, in Ceylon. In the feudal era in Mesopotamia, Iran, India, Central Asia, Azerbaijan, Turkey has developed the art of decorative-plane miniature, which attracts with a fine colorful, elegant of ornamental rhythm and the brightness of individual life observations.

   Some achievements of Renaissance Painting have been antedate in the 14 century by Italian painter Giotto. The scientific study of perspective, optics and anatomy, use of improved by J. van Eyk (Netherlands) technique of oil paintings contributed to wide disclosure of the nature capacity of Painting; in the Painting convincingly reproduced dimensional form (using the cut-off Modeling) in unity with the deep space (unfolding for visually destroyed the picturesque plane) and light environment, opened up the richness of world colors. Fresco also experienced reborn, sometimes visually expands the interior of the palace or a church, and easel painting also bull, but still remained some decorative unity with the surrounding subject. A sense of harmony of the universe, the enthusiasm in individual bright freshness of the vital parts of interest to the real person, a spiritual activity images are typical for the compositions on religious and mythological subjects, portraits, domestic scenes, historical and images of nude figures. Tempera first of all was replaced by the combined technique (glazing and detailing with oil paints of tempera underpainting), and then technically advanced multi-layered oil and lacquer Painting with tempera. Along with a smooth, detailing Paintings on boards with a white ground (typical for the Dutch school of an artist), Venetian School of Painting develops techniques of free, pastous painting on canvas with the color ground. Along with local, often colored, with a clear pattern has developed to a tone Painting (in the Venetian school, and subtly revealed a wealth of diverse opportunities for color painting). The greatest Renaissance painters are Mazachcho, Piero della Francesca, Mantegna, Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Giorgione, Titian, Paolo Veronese, Jacopo Tintoretto in Italy, J. van Eyk, P. Bruegel in the Netherlands, A. Durer, X . Holbeyn Jr., M. Nithardt (Grunewald) in Germany.

   In the 17-18 centuries development of European Painting became more complicated. Formed a national schools in France (Painting Latur, F. Shampen, N. Poussin, A. Watteau, Chardin Painting B., O. Fragonard, Paintings David L.), Italy (M. Caravaggio, D. Fetti, P. da Cortona, G. B. Tiepolo, JM Crespi, F. Guard), Spain (El Greco, Velázquez E., F. Surbaran, B. A. Murillo, F. Goya), Flanders (PP Rubens , J. Iordans, A. van Dijk, F. Sneyders), Holland (F. Hale, Rembrandt, J. Wermer, Y. van Reysdal, G. Terborh, K. Fabritsiusa), England (T. Gainsborough, W. Hogarth ), Russia (FS Rokotov, D. Levitsky, VL Borovikovsky). There is intense fighting of currents, progressive and reactionary ideas, advanced against academism, coexist different styles, Fine Art provides new social and civic values, appeals to the more exhaustive and accurate portrayals of real life in its movement and variety, especially the everyday human environment (landscape, interior , of goods); deepened psychological problems, understood and embodied interaction personality conflict with world. In the 17 century expanded and formed a clear system of genres. In the 17-18 centuries flourishes a monumental-decorative Painting (especially Baroque), which exists in close unity with the sculpture and architecture, which has created, often using illusions effects that intensively affected on human emotional environment. At the same time, increased the role of Easel Painting

   The increasing complexity of Painting, an abundance of challenges facing it, class differences in attitude led to the formation of various pictorial systems, as a community of stylistic traits (emotionally rich and dynamic Baroque Painting, with its characterized unclosed, spiral composition; strictly balanced Classicism painting, with its cult of a clear and strict pattern, with dominated three-D color origin, locality of colors; Rococo painting, with its elegant and fluid game of of color nuances, bright and faded colors) and does not fit into any specific frame style. In pursuit of the finest reproduction of colorful peace, light and air, many artists improve tone Painting All this led to a sharp individualization techniques prevailed in the 17-18 centuries multi-layer oil painting. At the same time, the picture is often carried out simultaneously by several artists, specialized in certain visual explanation. Increasing easelism, increased demand for products designed for intimate contemplation, led to the development of a thin and light technique of Painting - pastels, watercolors, carcasses and different types of portrait miniatures.

   In the 19 century New National Art School are formed in Europe (Balkan countries) and in America. Developed links of Europe with other parts of the world where the experience of European Painting became as separate formal achievements which get the original interpretations, often based on local ancient traditions (India, China, Japan and other countries), European painting was also influenced on non-European art (mainly Japan and China), affecting in renewing individual techniques decorative rhythmic organization of pictorial plane. In the 19 century Painting broader and deeper than other types of fine art addressed to complex and pressing intellectual issues, played an active role in public life, often associated with social and national liberation movements, the important role in Art of 19 centuries acquired an acute criticism of social reality. At the same time throughout the 19 century Painting was the officially cultivated far from the canons of academic life, the diversion of idealization images emerged Naturalistic trends to ignore the specificity, the expression of self-expression of Painting in the fight against these trends, with rationalistic and the diversion of the official Salon-Academic Painting is Painting Romanticism, with its emotional heat, active interest in the dramatic events of history and modernity, showing the strengths of human passions, energy pictorial language, dynamic constructs, contrast of light and shadow, color saturation (T. Zheriko, E. Delacroix in France, in many OA Kiprensky, Sylvester Shchedrin, TO . Briullov, AA Ivanov in Russia). Abandoning the classical ideal of harmonious perfection, comes to a complete, concrete, credible, frequent high-visibility Painting a realistic picture of life, based on direct observation of the characteristic phenomena of reality (G. Courbet, Millet Painting F., O. Daumier, Corot C., Wizard barbizonskoy school in France; J. Constable in England, A. Menzel, B. Label in Germany; AG Venetsianov, PA Fedotov of Russia). Painting democratic realism commonly shows life and work of the people, their struggle for their rights, are the most important events of history, creates a vivid, psychologically-depth images of ordinary people and of public officials in many countries there are national schools of realistic landscape. Particular socio-critical severity is closely related to the bourgeois-democratic stage rus. revolutionary movement Peredvizhniki Painting and close to the artist - VG Perov, Kramskoy, Repin, VI Surikov, VV Vereshchagin, I. Levitan.

   By the living embodiment of the world in its naturalness and immediacy, constant variability comes at the beginning of 1870-ies. Impressionism (Monet painting K., A. Renoir, Pissarro K., A. Sisleya partly È È Degas and Manet in France), overcoming prevailing in the Painting of the years reserve, black color, updating equipment and techniques of painting surfaces, identifying the beauty of pure color, anxious beautiful and texture effects. In the 19 century. Europe dominates easel Painting in oil, in the decorative against even less than before, related to the subject environment. Oil Painting Technique becomes clear in many cases, individual freedom, but gradually loses inherent earlier thoroughness, rigorous, systematic, multi-layer, reduced the strength of works of Art (which has contributed to and dissemination of new paint factory production is used to replace previously manual preparation of paints); palette expands ( new pigments and binders), instead of dark colored soils, which are typical for the 18 century., in the early 19 century. re-introduced white bottoms. As with other types of monumental art (architecture, sculpture) monumental - Decorative Painting, used in 19. almost exclusively glue or oil paint, comes in this time of decay. Only in the late 19 - early 20 centuries. attempts to revive the monumental paintings and merging different types of Art works of decorative art and architecture in a single ensemble (mainly in the art of «modern»); updates and tools Monumental-Decorative Painting, a technique of silicate Painting

   At the end of 19-20 centuries. worldwide development Painting is particularly complex and controversial, both co-exist and fight realistic and modernisticheskie current. Fertilized ideals of the October Revolution, the armed method of socialist realism, Painting intensively developed in the USSR and other socialist countries. New School of Art in Asia and Africa, Australia and Latin America.

   Realistic Paintings at the end of 19-20 centuries. its democratic tendencies, the close links with the life of the following best practices of previous eras Painting. At the same time, it distinguishes the desire to know and show the world in all its contradictions, the essence of place in the social validity of the underlying processes, the inner meaning of life events, sometimes not having enough visual appearance, so reflection and interpretation of many phenomena of reality often finds sharp-subjective, generalized -symbolic. Paintings 20. along with the sensual, reliable, illusory, volumetric-spatial images method is widely used new (and go back to antiquity), the conditional interpretation of the principles of the world visible. Already Painting Postimpressionism (P. Cezanne, V. van Gogh, Gauguin P., A. Toulouse-Lautrec) and partly in Paintings «Nouveau» emerging features that determined the features of some of the 20 century. (the active expression of a purely personal relationship to the artist’s world, emotional and psychological strength, and associativity of color, there is little associated with the observed life in the colorful relationship utrirovannost forms decorativeness). The first course, arose in the 20 century. - In fovizme - nature image broskost vivid color contrasts clearly dictated primarily subjective will of the artist, intensely facing reality. A new world to comprehend the art of great Russian painters late 19 - early 20 centuries. - Socio-saturated, so-sharpened pictures Serov, stress and dramatic works of MA Vrubel.

   In the 20 century. perceived reality and put into different aspects of major artists Painting capitalist countries: P. Picasso, Matisse A., F. Leger, A. Marche in France, D. Rivera, JC Orozco, D. Siqueiros in Mexico; R. Guttuzo in Italy; J. Bellouza, R. Kent in the United States. Many of their paintings, wall paintings found elevated emotional expression-comprehension of the truth of tragic contradictions actually merging into the exposure deformities capitalist order; Paintings of artists promoted progressive political ideas of modernity, with great breadth, and epichnostyu expression vossozdavaya historical and contemporary events, it embodied also cheerful, optimistic perception of the world, his passion for substance. With the new aesthetic reflection, «technical» era is not only a reflection of industrialization pathos of life, not only the infiltration of Painting geometric, «machine» Forms, which are often organic forms, but the search for Responsible Painting worldview of modern man, his spiritual needs of emotionally -type colors, new shapes, which can be used in the decorative arts, architecture and industry. Widespread in Painting, mostly capitalist countries since the early 20 century. received various modernisticheskie flow (see Modernism), reflecting the general crisis of the culture of bourgeois society, to one degree or another break a living link with reality, however, and in Painting modernisticheskoy sometimes found indirect expression «patients» the problem of modernity, unbridled spirit of protest (eg, Painting expressionism, with its dramatic vehemently, crisis moods). In Painting modernisticheskih many currents (Cubism, Futurism, Surrealism), some more or less easily recognizable elements visible world fragmented or geometriziruyutsya, appear in unexpected, sometimes illogical combinations that generate a lot of associations, sometimes merging with purely abstract forms. Further evolution of many of these currents in the 1910-ies. led to a complete abandonment of the fine, to the emergence of Abstract Painting (see abstract art), which marked the collapse of the Painting as a means of reflecting reality and cognition; Abstract painting until 1960-ies. was widespread in the art primarily capitalist countries. Since the mid 1960-ies. in Western Europe and American Paintings at times becomes an element of «Pop Art».

   In the 20 century. the role of monumental-decorative Painting as images (for example Revolutionary Democratic monumental painting in Mexico), which seeks primarily to involve the mass audience in terms of embodied its ideas, there neizobrazitelnoy, usually planar, abstract, ornamental, seamless geometrizovannymi forms of modern architecture . At the same time easel painting on still plays a major role, while strengthening the decorative elements of the art form often makes the easel picture of the overall architectural and artistic ensemble.