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Muslim, Indian, and Western historians all see Akbar as the greatest ruler of Indian history. When his father, Humayun, died in 1556, Akbar became padshah ("ruler of the empire") at the age of thirteen. Under the guidance of Bairam Khan, who had been instrumental in Humayun's reconquests of Panipat, Dehli, and Agra, Akbar instantly began seizing more territory throughout Hindustan. Bairam Khan fell from power in 1560, but Akbar continued his conquest of India and Afghanistan. By the time he died in 1605 (his reign, 1556 to 1605, corresponds almost exactly to that of Elizabeth I of England), his Empire was greater than that of Babur and included almost all of northern India.

In order to govern this territory, Akbar developed a bureaucracy and a system of autonomy for the imperial provinces. Akbar's bureaucracy was among the most efficient in the world. He put military governors, or mansabars , in charge of each region. Each governor was responsible for the provincial military and, as in the Ottoman state, was directly responsible for all abuses. Abuses of power and mistreatment of the poor or weak resulted in severe punishments and death, just as in the Ottoman Empire. Each military governor was put in charge by the padshah himself, so he could be dismissed at will.

The most important part of the bureaucracy was tax collection. Akbar made several innovations. His tax, like all other states, was a land tax that amounted to one-third of the value of the crops produced on it each year. However, the tax was assessed equally on every member of the empire—a radical innovation considering that every other state in the sixteenth century rarely taxed the nobility. He also eliminated the tax assessed on non-Muslims. From the beginning of the Islamic expansion, a special tax was levied on non-believers. This special tax, called the jizya , was bitterly resented all during the history of Muslim rule in India. In addition, Muslim rulers in India charged a "pilgrimage" tax on unbelievers travelling to various Hindu pilgrimage sites. Akbar eliminated this tax in 1564.

A large part of Akbar's administrative efforts were winning over Hindu populations. The Rajput kingdoms had never fully accepted Islamic rule, but the revocation of the jizyat and the pilgrimage taxes helped to calm their restiveness. Akbar also included vast number of Hindus in the official bureaucracy; by his death, almost one-third of the imperial bureaucracy were Hindu. He cemented relations with the various kingdoms by marrying the daughters of the kings. By the end of this process he had over five thousand wives, almost all of whom he married for political reasons. His favorite wife, however, was a Hindu, and she gave birth to his successor, Jahangir.

His most successful administrative coup, however, was allowing Hindu territories to retain a large degree of autonomy. In all other Muslim kingdoms, non-Muslims came under the same law, the Shari'a , as all Muslims. Akbar, however, allowed the Hindus to remain under their own law, called the Dharmashastra , and to retain their own courts. This loose style of government, in which territories were under the control of the Emperor but still largely independent, became the model that the British would emulate as they slowly built the colonial model of government in the eighteenth and nineteenth centuries.

The Political Theory of Akbar's State

There was considerable disagreement all during the reigns of Babur, Humayun, and Akbar over the nature of monarchy and its place in Islamic society. Many Islamic scholars under Babur and Akbar believed that the Indian monarchies were fundamentally un-Islamic. At the heart of the problem was the fact that none of the invading monarchs were approved by the Caliph, but rather were acting solely on their own. The majority of Islamic scholars, however, concluded that the monarch was divinely appointed by God to serve humanity and that the Indian sultanate or the Mughal padshah was acting in the place of the Caliph.

The political theorists and Islamic scholars surrounding Akbar were deeply influenced by Shi'a Islam. In particular, they subscribed to the Shi'a notion that God had created a Divine Light that is passed down in an individual from generation to generation; this individual is known as the Imam. The central theorist of Akbar's reign was Abu'l Faz'l, who joined Akbar's court in 1574 and is considered one of the greatest political theorists in Islamic history. He believed that the Imamate existed in the world in the form of just rulers. The Imam, in the form of a just ruler, had secret knowledge of God, was free from sin, and was primarily responsible for the spiritual guidance of humanity. This, to a certain extent, made the padshah superior to the Shari'a , or Islamic law, and the Islamic scholars that interpreted it. Needless to say, orthodox Islamic scholars bitterly opposed this political theory, but instead advocated a close partnership between the ulama , or Islamic religious and legal scholars, and the Sultan or padshah .

Abu'l Fazl was also deeply influenced by Platonic philosophy as it had been handed down by Muslim philosophers. In particular, he argued for Plato's concept of the "philosopher-king," who, by virtue of his talent, wisdom, and learning, deserved to be obeyed by all others. He saw Akbar as the embodiment of the perfect philosopher-king.

From a religious standpoint, Akbar's state was built on the principle sulahkul , or "universal tolerance." All religons were to be equally tolerated in the administration of the state; hence the repeal of the jizya and the pilgrimage taxes. In Akbar's theory of government, the ruler's duty is to ensure justice ('adale ) for all the people in his care no matter what their religion.

Din-i Ilahi

Akbar took very seriously Abu'l Fazl's idea that he was a spiritual leader of his people and he devoted considerable amounts of time and resources to sorting out the common truth in the multiple religions he ruled over. From this concern he developed a new religion he called Din-i Ilahi , or "The Religion of God." Believing, as Muslims do, that every faith contained the essential truth that God is unified and one thing, he sought to find the unifying aspects of all religions. He originally began this project, long before he came up with Din-i Ilahi , by sponsoring a series of debates at his court between representatives of the various religions, which included Christianity (Catholic Jesuits), Hindus, Zoroastrians, and Jains. Eventually he included members of the ulama , but the debates did not go well because of the intolerant attitude and behaviors of the Jesuit participants who wanted to convert Akbar, not discuss the formation of a universal religion.

Akbar was a devout and, so he said, an orthodox Muslim; still, aspects of his belief were in part derived from Shi'a Islam. The Din-i Ilahi , the religion that would synthesize the world's religions into a single religion, that he established was predominantly based on Islam. Like Islam, it was rationalistic and was based on one overriding doctrine, the doctrine of tawhid : God is one thing and is singular and unified. Akbar also elevated the notion of wahdat-al wujud , or "unity of the real," to a central religious idea in his new religion. The world, as a creation of God, is a single and unified place that reflects the singularity and unity of its creator. Finally, Akbar fully subscribed to the Islamic idea of the Perfect Man represented by the life of the Prophet or by the Shi'ite Imamate. There is little question that Akbar accepted Abu'l Fazl's notion that he was the Divine Light and was a Perfect Man. He assumed the title, "Revealer of the Internal and Depictor of the Real," which defined his role as a disseminator of secret knowledge of God and his function of fashioning the world in the light of this knowledge.

In addition to Islam, however, the Din-i Ilahi also contained aspects of Jainism, Zoroastrianism, and Hinduism. The Din-i Ilahi borrowed from Jainism a respect and care for all living things, and it derived from Zoroastrianism sun-worship and, especially, the idea of divine kingship. This latter innovation deeply disturbed the ulama ; they regarded it as outright heresy. The notion of divine kingship, however, would last throughout the history of the Mughal Empire.

Fatehpur Sikri

Akbar's closest and most beloved religious advisor was an Islamic Sufi mystic, Shayk Salim Chishti. After years of having no son and heir, the birth of Jahangir seemed to fulfill one of Salim Chishti's prophecies. In gratitude to his former religious advisor and to Allah, Akbar set about building what he theorized as the "perfect city," one that would represent the power of his empire, the meaning of God's message to humanity, and would ensure perfect harmony. Above all, the city would represent Islam. He completed his new city, Fatehpur Sikri, in 1578. The city contains a mosque, a palace, a lavish and huge garden, a worship hall for Din-i Ilahi , and, finally, a tomb for Shaykh Salim Chishti in the great mosque itself. The city served for a while as Akbar's capital and lavish court. It was, however, placed far from source of water and the "perfect city" and "perfect symbol of Islam" was abandoned forever shortly after Akbar's death.





Akbar had put in place an efficient administration and a set of political relationships between the Mughal court and local Hindu kingdoms that ensured a peaceful empire for the remainder of his life. He was followed by three more great emperors, each with their own faults, who expanded Akbar's empire through conquest and built Mughal culture to its highest points. Strangely, the success of both of these projects—expansion of the empire and the development of more and more resplendent artifacts of Mughal culture—inevitably contributed to the later decline of the Empire. The expansion of the Empire, largely carried out by the last great Mughal conqueror, Aurangzeb, spread Mughal government and military administration too thin. The incredible expense of the Mughal court and building projects, particularly under Shah Jahan, impoverished the country and built up long-standing and volatile hostility towards the lavish emperors.

Jahangir

Akbar was succeeded by his favorite son, Jahangir, who ruled the empire from 1605 to 1628. Jahangir did not pursue military conquest as forcefully as his father, but he did manage to assert Mughal rule over the Bengal in eastern India. Akbar had claimed that any kingdom that was not expanding was in decline, but the later decades of Akbar's rule were in general peaceful and uneventful. Akbar spent most of his time concerned with administration, culture, the arts, and his new religion, Din-i Ilahi , rather than pursuing wars of conquest. Jahangir seems to have inherited the attitude of the older Akbar, for he lavishly patronized the arts: painting, architecture, philosophy, and literature, while ignoring military conquest. The period of Jahangir's tenure as Emperor is considered the richest period of Mughal culture; Indian, Muslim, and Western scholars have named this period, the age of Mughal splendor.

Shah Jahan

Jahangir's successor, Shah Jahan (ruled 1628-1658), inherited Akbar's obsession with the military and wars of conquest. Although Jahangir had ruled relatively peacefully, the Empire was starting to come apart at the accession of Shah Jahan. The new emperor threw himself into military pursuits: he put down a Muslim rebellion in Ahmadnagar, repulsed the Portugese in the Bengal, and conquered parts of the Deccan. By the end of his reign, the empire was again expanding and the Mughals seemed firmly in charge.

One of Shah Jahan's major innovations was moving the capital from Agra to Dehli, the traditional seat of Muslim power. Dehli was one of the largest cities in India and its status as capital increased its wealth and power. Through much of modern Indian history, Dehli was the most economically and politically important cities in India.

Shah Jahan began a series of incredible, resplendent, and monumental architectural projects in Dehli. The city itself was surrounded by sixty foot walls. In the middle of the city he built a magnificent palace for himself itself contained within the Red Fort (so called because it was made of red sandstone), which housed the palace as well as all the buildings associated with imperial administration. He built for himself an extravagant throne, the Peacock Throne, all in gold and covered in rare jewels. Western historians estimate that the throne was built at an expense of over five million dollars. In 1739, the Afghani conqueror of Persia, invaded Hindustan, burned down Shah Jahan's palace and seized the Peacock Throne for himself—it has remained in Iran ever since.

Shah Jahan's most famous building project, however, was the Taj Mahal in Agra. When his favorite wife, Mumtaz Mahal ("Ornament of the Palace"), died at the age of 39 while giving birth to her fourteenth child in 1631, the grief-stricken emperor set about building for her the most lavish tomb he could manage. The Taj Mahal took over twenty years to build and demanded the labor of over twenty thousand men. Like all other Muslim tombs, the primary architectural design is based on building an equivalent of the Muslim paradise that the dead are certain to be in. Combining both Persian and Indian architectural styles, the tomb and the grounds are meant to bring into reality the Muslim idea of Paradise.

All these lavish building projects, however, broke the bank. With the treasury depleted by his lavish expenses and by military expeditions against Persia and Central Asia, Shah Jahan was forced to raise the land tax from 30% to 50% of the value of the crops produced on the land. While this did not create famine, it did bring about hardship on the poorest members of Hindu society and raised hostility against the Mughals.

Aurangzeb

Like the Ottomans, the Mughals had no clear set of rules regarded succession to the throne. They believed, as the Ottomans, that God would choose the most worthy successor. In reality, this produced serious conflicts as each emperor aged. The first real succession crisis occurred near the end of Shah Jahan's reign. The conflict between Shah Jahan's sons ended with the victory of Aurangzeb, who imprisoned his father in 1658 (he died in 1666) and executed his older brother.

Aurangzeb would rule an incredibly long time, from 1658 to 1707. Under his tenure, the Mughal Empire expanded to its greatest limits, largely driven by wars of conquest under Aurangzeb's leadership. In particular, he led Mughal forces in the conquest of the Deccan, seizing first the Golkunda and Bijapur Sultanates, and then attacking the Maratha chieftains. He annexed all the Maratha territories, but he never managed to conquer the Marathas who continued to fight using guerilla tactics. While Aurangzeb is the last great conqueror of Mughal history, both Muslim and Western historians agree that the Empire had grown too large for Mughal administration.

Aurangzeb was driven by an intense Muslim piety. He insisted that the Shari'a become the law of the land, and forbade all drinking and gambling. The Hindu majority, accustomed to living according to Hindu law, the Dharmashastra , now found themselves facing Islamic law courts. Aurangzeb outlawed the Hindu practice of suttee in which widows voluntarily killed themselves by throwing themselves on the funeral pyre of their husbands. More seriously, however, was Aurangzeb's repeal of all taxes that were not specifically authorized in Islamic law or tradition. This move depleted the Empire of much-needed revenue, so Aurangzeb reinstituted the jizya , or tax on non-believers, that was customary in every other Islamic state. Since the majority of Mughal subjects were Hindu, the jizya created unrest throughout the Empire.

The system began to fall apart throughout Aurangzeb's rule. Individual states rebelled against the new policies, but the most serious opposition came from two groups: the Marathas and the Sikhs. Together, these two, in their opposition to the Mughals and their establishment of independent kingdoms contained within the Empire, would form the basis of Mughal government in the eighteenth century and the nature of British colonialism.




The first major threat to Mughal imperial power came from a Hindu tribal confederacy known as the Marathas. Located in the mountainous regions of the Deccan, the Marathas were mainly drawn from the lowest caste of society, but they became a powerfully militant community under their ruler, King Sivaji, who died in 1680. Under his leadership, the Marathas managed to carve out their own kingdom in 1646. Aurangzeb, the last great conqueror of the Mughal rulers, defeated the Marathas and annexed their territories, but the Marathas never put down their arms. They could never be defeated by the Mughals because they adopted guerilla warfare tactics, hiding and living in the forests. They continued to rule over their territory, even though it was under the control of the Mughals, as a separate state within a state. By 1740, the Marathas controlled more territory than the Mughals.

In the later eighteenth century, the kingdom of Mysore and the Maratha confederacy were the major obstacles in the British attempt to control the economy of India. The East India Company, originally started as a trading company, had become an official arm of the British Empire. It's objective was to control the economy of India and, if necessary, control the administration of its territories. It turned to the Mughal Empire for its model of ruling India, but the Marathas were very resistant to British imperialism. The British, under General Wellesley, defeated the Maratha chieftains, Scindia and Holkar, but the Maratha chieftains continued to rebel all throughout the early decades of the nineteenth century.

• Nam: The Name. A direct, unmediated experie nce of God can be attained by meditating on God's name (Nam); this name, according to Guru Nanak, is ek , or "One." Each human being can overcome their sinfulness and achieve a mystical union with God by meditating on this name.
• Sabad: The Word. God is revealed through the spoken word (sabad ) . The spoken word reveals the nature and name of God as well as the methods by which one can meditate on the Name and achieve union with go d.
• Guru: The Teacher. The Name and the Word are revealed through the Guru; knowledge of both only comes through the Guru. The Sikh concept of the Guru is different from the Hindu concept, for the Sikh Guru is synonymous with the Name and the Word. It is slightly inaccurate to say this, but it comes close to hitting the mark: in many ways, the Guru is the voice of God speaking to humanity.

The Gurus

Gobind Singh

The Rise and Fall of the Mughals

A group of women from South India, Hindupur, c. 1540.	Krishna embraces Gopîs, Gîtâ-Govinda-manuscript, 1760-1765.	Floating Figures Dancing, a mural of c. 850.	Wild Pig Hunt, c. 1540.
Chand Bibi Hawking, Deccan style, 18th century	A Lady Listening to Music, c. 1750.	Rasamañjarî manuscript of the Bhânudatta (erotic treatise), 1720.	Mural fragment of a lady with a parasol, c. 700.
Bahsoli painting of Radha and Krishna in Discussion, c. 1730.	Bahsoli painting of Maharaja Sital Dev of Mankot in Devotion, c. 1690.	Portrait of Ibrahim Adil Shah II (1580-1626) of Bijapur, 1615.	The Throne of the Wealth, Nujûm-al-' Ulûm-manuscript, 1570.
Elephant and cub out of the stable of the Moghul ruler, 17th century.	Mihrdukht Shoots an Arrow Through a Ring, 1564-1579.	Portrait of the Govardhân Chand, Punjab style, c. 1750.	Ravana kills Jathayu; the captive Sita despairs.
Akbar and Tansen Visit Haridas in Vrindavan, Rajasthan style, c. 1750.	A man with children, Punjab style, 1760.	Râdhâ arrests Krishna, Punjab style, 1770.	Rama and Sita in the Forest, Punjab style, 1780.

Indian painting

Indian paintings historically revolved around the religious deities and kings. Indian art is a collective term for several different schools of art that existed in the Indian subcontinent. The paintings varied from large frescoes of Ellora to the intricate Mughal miniature paintings to the metal embellished works from the Tanjore school. The paintings from the Gandhar-Taxila are influenced by the Persian works in the west. The eastern style of painting was mostly developed around the Nalanda school of art. The works are mostly inspired by various scenes from Indian mythology.

History

The earliest Indian paintings were the rock paintings of prehistoric times, the petroglyphs as found in places like the Rock Shelters of Bhimbetka, and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ajanta, Maharashtra state present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals.

Bhimbetka rock painting

Ajanta Caves in Maharashtra, India are rock-cut cave monuments dating back to the second century BCE and containing paintings and sculpture considered to be masterpieces of both Buddhist religious art^[8] and universal pictorial art.^[9]

A fresco from Cave 1 of Ajanta.

Madhubani painting

Madhubani painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India. The origins of Madhubani painting are shrouded in antiquity.

Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features.

Rajput painting

Rajput painting, a style of Indian painting, evolved and flourished, during the 18th century, in the royal courts of Rajputana, India. Each Rajput kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna's life, beautiful landscapes, and humans. Miniatures were the preferred medium of Rajput painting, but several manuscripts also contain Rajput paintings, and paintings were even done on the walls of palaces, inner chambers of the forts, havelies, particularly, the havelis of Shekhawait.

The colors extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones, gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking weeks. Brushes used were very fine.

Mughal painting

Mughal painting is a particular style of Indian painting, generally confined to illustrations on the book and done in miniatures, and which emerged, developed and took shape during the period of the Mughal Empire 16th -19th centuries).

Tanjore painting

Tanjore painting is an important form of classical South Indian painting native to the town of Tanjore in Tamil Nadu. The art form dates back to the early 9th century, a period dominated by the Chola rulers, who encouraged art and literature. These paintings are known for their elegance, rich colors, and attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and scenes from Hindu mythology. In modern times, these paintings have become a much sought after souvenir during festive occasions in South India.

The process of making a Tanjore painting involves many stages. The first stage involves the making of the preliminary sketch of the image on the base. The base consists of a cloth pasted over a wooden base. Then chalk powder or zinc oxide is mixed with water-soluble adhesive and applied on the base. To make the base smoother, a mild abrasive is sometimes used. After the drawing is made, decoration of the jewellery and the apparels in the image is done with semi-precious stones. Laces or threads are also used to decorate the jewellery. On top of this, the gold foils are pasted. Finally, dyes are used to add colors to the figures in the paintings.

The Madras School

During British rule in India, the crown found that Madras had some of the most talented and intellectual artistic minds in the world. As the British had also established a huge settlement in and around Madras, Georgetown was chosen to establish an institute that would cater to the artistic expectations of the royals in London. This has come to be known as the Madras School. At first traditional artists were employed to produce exquisite varieties of furniture, metal work, and curios and their work was sent to the royal palaces of the Queen.

Unlike the Bengal School where 'copying' is the norm of teaching, the Madras School flourishes on 'creating' new styles, arguments and trends.

The Bengal School

Abanindranath Tagore, Bharat Mata

The Bengal School of Art was an influential style of art that flourished in India during the British Raj in the early 20th century. It was associated with Indian nationalism, but was also promoted and supported by many British arts administrators.

The Bengal School arose as an avant garde and nationalist movement reacting against the academic art styles previously promoted in India, both by Indian artists such as Ravi Varma and in British art schools. Following the widespread influence of Indian spiritual ideas in the West, the British art teacher Ernest Binfield Havel attempted to reform the teaching methods at the Calcutta School of Art by encouraging students to imitate Mughal miniatures. This caused immense controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havel was supported by the artist Abanindranath Tagore, a nephew of the poet Rabindranath Tagore. Tagore painted a number of works influenced by Mughal art, a style that he and Havel believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. Tagore's best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations. Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a pan-Asianist model of art.

The Bengal School's influence in India declined with the spread of modernist ideas in the 1920s. In the post-independence period, Indian artists showed more adaptability as they borrowed freely from european styles and amalgamated them freely with the Indian motifs to new forms of art. While artists like Francis Newton Souza and Tyeb Mehta were more western in their approach, there were others like Ganesh Pyne and Maqbool Fida Husain who developed thoroughly indigenous styles of work. Today after the process of liberalization of market in India, the artists are experiencing more exposure to the international art-scene which is helping them in emerging with newer forms of art which were hitherto not seen in India. Jitish Kallat had shot to fame in the late 90s with his paintings which were both modern and beyond the scope of generic definition. However while artists in India in the new century are trying out new styles, themes and metaphors, it would not have been possible to get such quick recognition without the aid of the business houses which are now entering the art field like they had never before.

Western painting

Egypt, Greece and Rome

Ancient Egypt, a civilization with very strong traditions of architecture and sculpture (both originally painted in bright colours) also had many mural paintings in temples and buildings, and painted illustrations on papyrus manuscripts. Egyptian wall painting and decorative painting is often graphic, sometimes more symbolic than realistic. Egyptian painting depicts figures in bold outline and flat silhouette, in which symmetry is a constant characteristic. Egyptian painting has close connection with its written language - called Egyptian hieroglyphs. Painted symbols are found amongst the first forms of written language. The Egyptians also painted on linen, remnants of which survive today. Ancient Egyptian paintings survived due to the extremely dry climate. The ancient Egyptians created paintings to make the afterlife of the deceased a pleasant place. The themes included journey through the afterworld or their protective deities introducing the deceased to the gods of the underworld. Some examples of such paintings are paintings of the gods and goddesses Ra, Horus, Anubis, Nut, Osiris and Isis. Some tomb paintings show activities that the deceased were involved in when they were alive and wished to carry on doing for eternity. In the New Kingdom and later, the Book of the Dead was buried with the entombed person. It was considered important for an introduction to the afterlife.

Ancient Egypt	Ancient Egypt,The Goddess Isis, wall painting, ca.1360 BC	Ancient Egypt, Queen Nefertari	Ancient Egypt, papyrus
Ancient Egypt	Ancient Egypt	Pitsa panels, one of the few surviving panel paintings from Archaic Greece, ca. 540-530 BC	Symposium scene in the Tomb of the Diver at Paestum, circa 480 BC Greek art
Knossos	Roman art, Pompeii	Roman art	Roman art
Roman art	Roman art	Roman art	Roman art

To the north of Egypt was the Minoan civilization on the island of Crete. The wall paintings found in the palace of Knossos are similar to that of the Egyptians but much more free in style. Around 1100 B.C., tribes from the north of Greece conquered Greece and the Greek art took a new direction.

Ancient Greece had great painters, great sculptors (though both endeavours were regarded as mere manual labour at the time), and great architects. The Parthenon is an example of their architecture that has lasted to modern days. Greek marble sculpture is often described as the highest form of Classical art. Painting on pottery of Ancient Greece and ceramics gives a particularly informative glimpse into the way society in Ancient Greece functioned. Black-figure vase painting and Red-figure vase painting gives many surviving examples of what Greek painting was. Some famous Greek painters on wooden panels who are mentioned in texts are Apelles, Zeuxis and Parrhasius, however no examples of Ancient Greek panel painting survive, only written descriptions by their contemporaries or later Romans. Zeuxis lived in 5-6 BC and was said to be the first to use sfumato. According to Pliny the Elder, the realism of his paintings was such that birds tried to eat the painted grapes. Apelles is described as the greatest painter of Antiquity for perfect technique in drawing, brilliant color and modeling.

Roman art was influenced by Greece and can in part be taken as a descendant of ancient Greek painting. However, Roman painting does have important unique characteristics. The only surviving Roman paintings are wall paintings, many from villas in Campania, in Southern Italy. Such painting can be grouped into 4 main "styles" or periods^[10] and may contain the first examples of trompe-l'œil, pseudo-perspective, and pure landscape.^[11] Almost the only painted portraits surviving from the Ancient world are a large number of coffin-portraits of bust form found in the Late Antique cemetery of Al-Fayum. Although these were neither of the best period nor the highest quality, they are impressive in themselves, and give an idea of the quality that the finest ancient work must have had. A very small number of miniatures from Late Antique illustrated books also survive, and a rather larger number of copies of them from the Early Medieval period.

Middle Ages

Cotton Genesis a miniature of Abraham meeting Angels	Byzantine art	Byzantine art	Byzantine art, Mosaic
Limbourg Brothers	Limbourg Brothers	Book of Kells	Book of Kells
Book of Hours	Book of Hours	Evangelist portrait	Carolingian
Carolingian Saint Mark	Yaroslavl Gospels c. 1220s	Giottino	Vitale da Bologna
Simone Martini	Cimabue	Giotto	Giotto
Andrei Rublev	Andrei Rublev, Ascension, 1408	Pietro Lorenzetti	Duccio

The rise of Christianity imparted a different spirit and aim to painting styles. Byzantine art, once its style was established by the 6th century, placed great emphasis on retaining traditional iconography and style, and has changed relatively little through the thousand years of the Byzantine Empire and the continuing traditions of Greek and Russian Othodox icon-painting. Byzantine painting has a particularly hieratic feeling and icons were and still are seen as a reflection of the divine. There were also many wall-paintings in fresco, but fewer of these have survived than Byzantine mosaics. In general Byzantium art borders on abstraction, in its flatness and highly stylised depictions of figures and landscape. However there are periods, especially in the so-called Macedonian art of around the 10th century, when Byzantine art became more flexible in approach.

In post-Antique Catholic Europe the first distinctive artistic style to emerge that included painting was the Insular art of the British Isles, where the only surviving examples (and quite likely the only medium in which painting was used) are miniatures in Illuminated manuscripts such as the Book of Kells. These are most famous for their abstract decoration, although figures, and sometimes scenes, were also depicted, especially in Evangelist portraits. Carolingian and Ottonian art also survives mostly in manuscripts, although some wall-painting remain, and more are documented. The art of this period combines Insular and "barbarian" influences with a strong Byzantine influence and an aspiration to recover classical monumentality and poise.

Walls of Romanesque and Gothic churches were decorated with frescoes as well as sculpture and many of the few remaining murals have great intensity, and combine the decorative energy of Insular art with a new monumentality in the treatment of figures. Far more miniatures in Illuminated manuscripts survive from the period, showing the same characteristics, which continue into the Gothic period.

Panel painting becomes more common during the Romanesque period, under the heavy influence of Byzantine icons. Towards the middle of the 13th century, Medieval art and Gothic painting became more realistic, with the beginnings of interest in the depiction of volume and perspective in Italy with Cimabue and then his pupil Giotto. From Giotto on, the treatment of composition by the best painters also became much more free and innovative. They are considered to be the two great medieval masters of painting in western culture. Cimabue, within the Byzantine tradition, used a more realistic and dramatic approach to his art. His pupil, Giotto, took these innovations to a higher level which in turn set the foundations for the western painting tradition. Both artists were pioneers in the move towards naturalism.

Churches were built with more and more windows and the use of colorful stained glass become a staple in decoration. One of the most famous examples of this is found in the cathedral of Notre Dame de Paris. By the 14th century Western societies were both richer and more cultivated and painters found new patrons in the nobility and even the bourgeoisie. Illuminated manuscripts took on a new character and slim, fashionably dressed court women were shown in their landscapes. This style soon became known as International style and tempera panel paintings and altarpieces gained importance.

Renaissance and Mannerism

Fra Angelico	Filippo Lippi	Andrea Mantegna	Masaccio The Expulsion Of Adam and Eve from Eden, before and after restoration
Paolo Uccello	Leonardo da Vinci	Raphael	Michelangelo
Albrecht Dürer	Giovanni Bellini	Titian	Leonardo da Vinci
Piero della Francesca	Giorgione	Jacopo Tintoretto	Sandro Botticelli
Robert Campin	Rogier van der Weyden	Jan van Eyck	Jan van Eyck
Hieronymous Bosch	Pieter Bruegel	Hans Holbein the Younger	El Greco

The Renaissance is said by many to be the golden age of painting. Roughly spanning the 14th through the mid 17th century. In Italy artists like Paolo Uccello, Fra Angelico, Masaccio, Piero della Francesca, Andrea Mantegna, Filippo Lippi, Giorgione, Tintoretto, Sandro Botticelli, Leonardo da Vinci, Michelangelo Buonarroti, Raphael, Giovanni Bellini, and Titian took painting to a higher level through the use of perspective, the study of human anatomy and proportion, and through their development of an unprecedented refinement in drawing and painting techniques.

Flemish, Dutch and German painters of the Renaissance such as Hans Holbein the Younger, Albrecht Dürer, Lucas Cranach, Matthias Grünewald, Hieronymous Bosch, and Pieter Brueghel represent a different approach from their Italian colleagues, one that is more realistic and less idealized. Genre painting became a popular idiom amongst such Northern painters as Pieter Brueghel. A new verisimilitude in depicting reality became possible with the adoption of oil painting, whose invention was traditionally, but erroneously, credited to Jan Van Eyck (an important transitional figure who bridges painting in the Middle Ages with painting of the early Renaissance). Unlike the Italians whose work drew heavily from the art of ancient Greece and Rome, the northerners retained a stylistic residue of the sculpture and illuminated manuscripts of the Middle Ages. These tendencies are also see in the art of Tudor England, which was heavily influenced by Protestant refugees from the Low Countries.

Renaissance painting reflects the revolution of ideas and science (astronomy, geography) that occur in this period, the Reformation, and the invention of the printing press. Dürer, considered one of the greatest of printmakers, states that painters are not mere artisans but thinkers as well. With the development of easel painting in the Renaissance, painting gained independence from architecture. Following centuries dominated by religious imagery, secular subject matter slowly returned to Western painting. Artists included visions of the world around them, or the products of their own imaginations in their paintings. Those who could afford the expense could become patrons and commission portraits of themselves or their family.

In the fifteenth and sixteenth centuries, panel paintings which could be hung on walls and moved around at will, became increasingly popular for both churches and private houses, rather than fresco wall-paintings or paintings incorporated into on permanent structures, such as altarpieces. The High Renaissance gave rise to a stylized art known as Mannerism. In place of the balanced compositions and rational approach to perspective that characterized art at the dawn of the sixteenth century, the Mannerists sought instability, artifice, and doubt. The unperturbed faces and gestures of Piero della Francesca and the calm Virgins of Raphael are replaced by the troubled expressions of Pontormo and the emotional intensity of El Greco.

Baroque and Rococo

Caravaggio	Artemesia Gentileschi	Frans Hals	Peter Paul Rubens
Jan Vermeer	Rembrandt van Rijn	Diego Velazquez	Nicolas Poussin
José de Ribera	Salvatore Rosa	Claude Lorrain	Antony Van Dyck
Giovanni Battista Tiepolo	Antoine Watteau	Jean-Honoré Fragonard, The Swing, ca. 1767	François Boucher
Élisabeth Vigée-Lebrun	Maurice Quentin de La Tour	Thomas Gainsborough	Joshua Reynolds
Jean-Baptiste-Siméon Chardin	William Hogarth	Francis Hayman	Angelica Kauffman

Baroque painting is associated with the Baroque cultural movement, a movement often identified with Absolutism and the Counter Reformation or Catholic Revival ^[12][13]; the existence of important Baroque painting in non-absolutist and Protestant states also, however, underscores its popularity, as the style spread throughout Western Europe.^[14]

Baroque painting is characterized by great drama, rich, deep color, and intense light and dark shadows. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. During the period beginning around 1600 and continuing throughout the 17th century, painting is characterized as Baroque. Among the greatest painters of the Baroque are Caravaggio, Rembrandt, Frans Hals, Rubens, Velázquez, Poussin, and Jan Vermeer. Caravaggio is an heir of the humanist painting of the High Renaissance. His realistic approach to the human figure, painted directly from life and dramatically spotlit against a dark background, shocked his contemporaries and opened a new chapter in the history of painting. Baroque painting often dramatizes scenes using light effects; this can be seen in works by Rembrandt, Vermeer, Le Nain and La Tour.

During the 18th century, Rococo followed as a lighter extension of Baroque, often frivolous and erotic. Rococo developed first in the decorative arts and interior design in France. Louis XV's succession brought a change in the court artists and general artistic fashion. The 1730s represented the height of Rococo development in France exemplified by the works of Antoine Watteau and François Boucher. Rococo still maintained the Baroque taste for complex forms and intricate patterns, but by this point, it had begun to integrate a variety of diverse characteristics, including a taste for Oriental designs and asymmetric compositions.

The Rococo style spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany, Bohemia, and Austria, where it was merged with the lively German Baroque traditions. German Rococo was applied with enthusiasm to churches and palaces, particularly in the south, while Frederician Rococo developed in the Kingdom of Prussia.

The French masters Watteau, Boucher and Fragonard represent the style, as do Giovanni Battista Tiepolo and Jean-Baptiste-Siméon Chardin who was considered by some as the best French painter of the 18th century - the Anti-Rococo. Portraiture was an important component of painting in all countries, but especially in England, where the leaders were William Hogarth, in a blunt realist style, and Francis Hayman, Angelica Kauffman (who was Swiss), Thomas Gainsborough and Joshua Reynolds in more flattering styles influenced by Antony Van Dyck. While in France during the Rococo era Jean-Baptiste Greuze (the favorite painter of Denis Diderot), ^[15] Maurice Quentin de La Tour, and Élisabeth Vigée-Lebrun were highly accomplished Portrait painters and History painters.

William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism). The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors[11]. By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassical artists like Jacques Louis David.

19th century: Neo-classicism, History painting, Romanticism, Impressionism, Post Impressionism, Symbolism

Jacques-Louis David 1787	John Singleton Copley, 1778	Antoine-Jean Gros, 1804	Jean Auguste Dominique Ingres 1862
John Constable 1802	Francisco de Goya 1814	Théodore Géricault 1819	Caspar David Friedrich c.1822
Eugène Delacroix, 1830	J. M. W. Turner 1838	Gustave Courbet 1849-1850	Camille Corot c.1867
Albert Bierstadt 1886	Claude Monet 1872	Pierre-Auguste Renoir 1876	Edgar Degas 1876
Édouard Manet 1882	Vincent van Gogh 1888	Paul Gauguin 1897-1898	Georges Seurat 1884-1886
Thomas Eakins, 1884-1885	Albert Pinkham Ryder, 1890	Winslow Homer 1899	Paul Cézanne 1906

After Rococo there arose in the late 18th century, in architecture, and then in painting severe neo-classicism, best represented by such artists as David and his heir Ingres. Ingres' work already contains much of the sensuality, but none of the spontaneity, that was to characterize Romanticism. This movement turned its attention toward landscape and nature as well as the human figure and the supremacy of natural order above mankind's will. There is a pantheist philosophy (see Spinoza and Hegel) within this conception that opposes Enlightenment ideals by seeing mankind's destiny in a more tragic or pessimistic light. The idea that human beings are not above the forces of Nature is in contradiction to Ancient Greek and Renaissance ideals where mankind was above all things and owned his fate. This thinking led romantic artists to depict the sublime, ruined churches, shipwrecks, massacres and madness.

By the mid-19th century painters became liberated from the demands of their patronage to only depict scenes from religion, mythology, portraiture or history. The idea "art for art's sake" began to find expression in the work of painters like Francisco de Goya, John Constable, and J.M.W. Turner. Romantic painters turned landscape painting into a major genre, considered until then as a minor genre or as a decorative background for figure compositions. Some of the major painters of this period are Eugène Delacroix, Théodore Géricault, J. M. W. Turner, Caspar David Friedrich and John Constable. Francisco de Goya's late work demonstrates the Romantic interest in the irrational, while the work of Arnold Böcklin evokes mystery and the paintings of Aesthetic movement artist James McNeill Whistler evoke both sophistication and decadence. In the United States the Romantic tradition of landscape painting was known as the Hudson River School:^[16] exponents include Thomas Cole, Frederic Edwin Church, Albert Bierstadt, Thomas Moran, and John Frederick Kensett. Luminism was a movement in American landscape painting related to the Hudson River School.

The leading Barbizon School painter Camille Corot painted in both a romantic and a realistic vein; his work prefigures Impressionism, as does the paintings of Eugène Boudin who was one of the first French landscape painters to paint outdoors. Boudin was also an important influence on the young Claude Monet, whom in 1857 he introduced to Plein air painting. A major force in the turn towards Realism at mid-century was Gustave Courbet. In the latter third of the century Impressionists like Édouard Manet, Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Mary Cassatt, and Edgar Degas worked in a more direct approach than had previously been exhibited publicly. They eschewed allegory and narrative in favor of individualized responses to the modern world, sometimes painted with little or no preparatory study, relying on deftness of drawing and a highly chromatic pallette. Manet, Degas, Renoir, Morisot, and Cassatt concentrated primarily on the human subject. Both Manet and Degas reinterpreted classical figurative canons within contemporary situations; in Manet's case the re-imaginings met with hostile public reception. Renoir, Morisot, and Cassatt turned to domestic life for inspiration, with Renoir focusing on the female nude. Monet, Pissarro, and Sisley used the landscape as their primary motif, the transience of light and weather playing a major role in their work. While Sisley most closely adhered to the original principals of the Impressionist perception of the landscape, Monet sought challenges in increasingly chromatic and changeable conditions, culminating in series of monumental works, and

Edvard Munch, 1893, early example of Expressionism

Pissarro adopted some of the experiments of Post-Impressionism. Slightly younger Post-Impressionists like Vincent van Gogh, Paul Gauguin, and Georges Seurat, along with Paul Cézanne led art to the edge of modernism; for Gauguin Impressionism gave way to a personal symbolism; Seurat transformed Impressionism's broken color into a scientific optical study, structured on frieze-like compositions; Van Gogh's turbulent method of paint application, coupled with a sonorous use of color, predicted Expressionism and Fauvism, and Cézanne, desiring to unite classical composition with a revolutionary abstraction of natural forms, would come to be seen as a precursor of 20th century art. The spell of Impressionism was felt throughout the world, including in the United States, where it became integral to the painting of American Impressionists such as Childe Hassam, John Twachtman, and Theodore Robinson. It also exerted influence on painters who were not primarily Impressionistic in theory, like the portrait and landscape painter John Singer Sargent. At the same time in America at the turn of the century there existed a native and nearly insular realism, as richly embodied in the figurative work of Thomas Eakins, the Ashcan School, and the landscapes and seascapes of Winslow Homer, all of whose paintings were deeply invested in the solidity of natural forms. The visionary landscape, a motive largely dependent on the ambiguity of the nocturne, found its advocates in Albert Pinkham Ryder and Ralph Albert Blakelock.

In the late 19th century there also were several, rather dissimilar, groups of Symbolist painters whose works resonated with younger artists of the 20th century, especially with the Fauvists and the Surrealists. Among them were Gustave Moreau, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Arnold Böcklin, Edvard Munch, Félicien Rops, and Jan Toorop, and Gustave Klimt amongst others including the Russian Symbolists like Mikhail Vrubel.

Symbolist painters mined mythology and dream imagery for a visual language of the soul, seeking evocative paintings that brought to mind a static world of silence. The symbols used in Symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, the Symbolist painters influenced the contemporary Art Nouveau movement and Les Nabis. In their exploration of dreamlike subjects, symbolist painters are found across centuries and cultures, as they are still today; Bernard Delvaille has described René Magritte's surrealism as "Symbolism plus Freud".^[17]

20th century Modern and Contemporary

The heritage of painters like Van Gogh, Cézanne, Gauguin, and Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism. Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone.

Pioneers of the 20th century

Henri Matisse 1905, Fauvism

Pablo Picasso 1907, early Cubism

Georges Braque 1910, Analytic Cubism

Henri Rousseau 1910 Primitive Surrealism

The heritage of painters like Van Gogh, Cézanne, Gauguin, and Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism - (as seen in the gallery above). Henri Matisse's second version of The Dance signifies a key point in his career and in the development of modern painting.^[18] It reflects Matisse's incipient fascination with primitive art: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism. Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon 1907, (see gallery) Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism (see gallery) was jointly developed by Pablo Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, (seen above) from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.

Henri Matisse 1909, late Fauvism

Giorgio de Chirico 1914, pre-Surrealism

Les Fauves (French for The Wild Beasts) were early 20th century painters, experimenting with freedom of expression through color. The name was given, humorously and not as a compliment, to the group by art critic Louis Vauxcelles. Fauvism was a short-lived and loose grouping of early 20th century artists whose works emphasized painterly qualities, and the imaginative use of deep color over the representational values. Fauvists made the subject of the painting easy to read, exaggerated perspectives and an interesting prescient prediction of the Fauves was expressed in 1888 by Paul Gauguin to Paul Sérusier,

"How do you see these trees? They are yellow. So, put in yellow; this shadow, rather blue, paint it with pure ultramarine; these red leaves? Put in vermilion."

The leaders of the movement were Henri Matisse and André Derain — friendly rivals of a sort, each with his own followers. Ultimately Matisse became the yang to Picasso's yin in the 20th century. Fauvist painters included Albert Marquet, Charles Camoin, Maurice de Vlaminck, Raoul Dufy, Othon Friesz, the Dutch painter Kees van Dongen, and Picasso's partner in Cubism, Georges Braque amongst others.^[19]

Fauvism, as a movement, had no concrete theories, and was short lived, beginning in 1905 and ending in 1907, they only had three exhibitions. Matisse was seen as the leader of the movement, due to his seniority in age and prior self-establishment in the academic art world. His 1905 portrait of Mme. Matisse The Green Line, (above), caused a sensation in Paris when it was first exhibited. He said he wanted to create art to delight; art as a decoration was his purpose and it can be said that his use of bright colors tries to maintain serenity of composition. In 1906 at the suggestion of his dealer Ambroise Vollard, André Derain went to London and produced a series of paintings like Charing Cross Bridge, London (above) in the Fauvist style, paraphrasing the famous series by the Impressionist painter Claude Monet. Masters like Henri Matisse and Pierre Bonnard continued developing their narrative styles independent of any movement throughout the 20th century.

Pierre Bonnard, 1913, European modernist Narrative painting

By 1907 Fauvism no longer was a shocking new movement, soon it was replaced by Cubism on the critics radar screen as the latest new development in Contemporary Art of the time. In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."^[20] Analytic cubism (see gallery) was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.

During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio De Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade a member of the jury at the Salon d’Automne, where he exhibited three of his dreamlike works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, his work was noticed by Pablo Picasso and Guillaume Apollinaire and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. (see gallery)

Pioneers of Modern art

Marc Chagall 1911, Expressionism and Surrealism

Franz Marc 1912, Der Blaue Reiter

Robert Delaunay, 1911, Orphism

Fernand Leger 1919, Synthetic Cubism, Tubism

In the first two decades of the 20th century and after cubism, several other important movements emerged; Futurism (Balla), Abstract art (Kandinsky), Der Blaue Reiter), Bauhaus, (Kandinsky) and (Klee), Orphism, (Robert Delaunay and František Kupka), Synchromism (Morgan Russell), De Stijl (Mondrian), Suprematism (Malevich), Constructivism (Tatlin), Dadaism (Duchamp, Picabia, Arp) and Surrealism (De Chirico, André Breton, Miró, Magritte, Dalí, Ernst). Modern painting influenced all the visual arts, from Modernist architecture and design, to avant-garde film, theatre and modern dance and became an experimental laboratory for the expression of visual experience, from photography and concrete poetry to advertising art and fashion. Van Gogh's painting exerted great influence upon 20th century Expressionism, as can be seen in the work of the Fauves, Die Brücke (a group led by German painter Ernst Kirchner), and the Expressionism of Edvard Munch, Egon Schiele, Marc Chagall, Amedeo Modigliani, Chaim Soutine and others..

Amedeo Modigliani, Portrait of Soutine 1916, example of Expressionism

Wassily Kandinsky 1913, birth of Abstract Art

Wassily Kandinsky a Russian painter, printmaker and art theorist, one of the most famous 20th-century artists is generally considered the first important painter of modern abstract art. As an early modernist, in search of new modes of visual expression, and spiritual expression, he theorized as did contemporary occultists and theosophists, that pure visual abstraction had corollary vibrations with sound and music. They posited that pure abstraction could express pure spirituality. His earliest abstractions were generally titled as the example in the (above gallery) Composition VII, making connection to the work of the composers of music. Kandinsky included many of his theories about abstract art in his book Concerning the Spiritual in Art. Robert Delaunay was a French artist who is associated with Orphism, (reminiscent of a link between pure abstraction and cubism). His later works were more abstract, reminiscent of Paul Klee. His key contributions to abstract painting refer to his bold use of color, and a clear love of experimentation of both depth and tone. At the invitation of Wassily Kandinsky, Delaunay and his wife the artist Sonia Delaunay, joined The Blue Rider (Der Blaue Reiter), a Munich-based group of abstract artists, in 1911, and his art took a turn to the abstract. Other Major pioneers of early abstraction include Russian painter Kasimir Malevich, who after the Russian Revolution in 1917, and after pressure from the Stalinist regime in 1924 returned to painting imagery and Peasants and Workers in the field,^[21][22] and Swiss painter Paul Klee whose masterful color experiments made him an important pioneer of abstract painting at the Bauhaus. Still other important pioneers of abstract painting include the Swedish artist Hilma af Klint, Czech painter, František Kupka as well as American artists Stanton MacDonald-Wright and Morgan Russell who, in 1912, founded Synchromism, an art movement that closely resembles Orphism

Edvard Munch, Death of Marat I (1907), an example of Expressionism

Gustav Klimt, Expressionism, 1907–1908

Expressionism and Symbolism are broad rubrics that describes several important and related movements in 20th century painting that dominated much of the avant-garde art being made in Western, Eastern and Northern Europe. Expressionism was painted largely between World War I and World War II, mostly in France, Germany, Norway, Russia, Belgium, and Austria. Expressionist artists are related to both Surrealism and Symbolism and are each uniquely and somewhat eccentrically personal. Fauvism, Die Brücke, and Der Blaue Reiter are three of the best known groups of Expressionist and Symbolist painters. Artists as interesting and diverse as Marc Chagall, whose painting I and the Village, (above) tells an autobiographical story that examines the relationship between the artist and his origins, with a lexicon of artistic Symbolism. Gustav Klimt, Egon Schiele, Edvard Munch, Emil Nolde, Chaim Soutine, James Ensor, Oskar Kokoschka, Ernst Ludwig Kirchner, Max Beckmann, Franz Marc, Käthe Schmidt Kollwitz, Georges Rouault, Amedeo Modigliani and some of the Americans abroad like Marsden Hartley, and Stuart Davis, were considered influential expressionist painters. Although Alberto Giacometti is primarily thought of as an intense Surrealist sculptor, he made intense expressionist paintings as well.

Pioneers of abstraction

Kasimir Malevich 1916, Suprematism

Theo van Doesburg 1917, De Stijl, Neo-Plasticism

Stanton MacDonald-Wright 1920, Synchromism

Piet Mondrian 1937-1942, De Stijl

Piet Mondrian's art was also related to his spiritual and philosophical studies. In 1908 he became interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. Blavatsky believed that it was possible to attain a knowledge of nature more profound than that provided by empirical means, and much of Mondrian's work for the rest of his life was inspired by his search for that spiritual knowledge.

De Stijl also known as neoplasticism, was a Dutch artistic movement founded in 1917. The term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.

De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg propagating the group's theories. Next to van Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszàr, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff, and J.J.P. Oud. The artistic philosophy that formed a basis for the group's work is known as neoplasticism — the new plastic art (or Nieuwe Beelding in Dutch).

Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay 'Neo-Plasticism in Pictorial Art'. He writes, "... this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour." The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line."^[25] The Guggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines."^[26]

De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms (such as the "perfect straight line") in the neoplatonic philosophy of mathematician M.H.J. Schoenmaekers. The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design. However, it did not follow the general guidelines of an "ism" (Cubism, Futurism, Surrealism), nor did it adhere to the principles of art schools like Bauhaus; it was a collective project, a joint enterprise.

Dada and Surrealism

Marcel Duchamp, 1915-23, Dada

Max Ernst 1923, early Surrealism

Yves Tanguy, 1927, Surrealism

Salvador Dalí 1931, Surrealism (super-realism)

Marcel Duchamp, came to international prominence in the wake of his notorious success at the New York City Armory Show in 1913, (soon after he denounced artmaking for chess). After Duchamp's Nude Descending a Staircase became the international cause celebre at the 1913 Armory show in New York he created the The Bride Stripped Bare by Her Bachelors, Even, Large Glass (see above). The Large Glass pushed the art of painting to radical new limits being part painting, part collage, part construction. Duchamp became closely associated with the Dada movement that began in neutral Zürich, Switzerland, during World War I and peaked from 1916 to 1920. The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design, and concentrated its anti war politic through a rejection of the prevailing standards in art through anti-art cultural works. Francis Picabia (see above), Man Ray, Kurt Schwitters, Tristan Tzara, Hans Richter, Jean Arp, Sophie Taeuber-Arp, along with Duchamp and many others are associated with the Dadaist movement. Duchamp and several Dadaists are also associated with Surrealism, the movement that dominated European painting in the 1920s and 1930s.

Francis Picabia 1916, Dada

Joan Miró, 1923-1924, abstract Surrealism

In 1924 André Breton published the Surrealist Manifesto. The Surrealist movement in painting became synonymous with the avant-garde and which featured artists whose works varied from the abstract to the super-realist. With works on paper like Machine Turn Quickly, (above) Francis Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. Yves Tanguy, René Magritte and Salvador Dalí are particularly known for their realistic depictions of dream imagery and fantastic manifestations of the imagination. Joan Miró's The Tilled Field of 1923-1924 verges on abstraction, this early painting of a complex of objects and figures, and arrangements of sexually active characters; was Miro's first Surrealist masterpiece.^[27] The more abstract Joan Miró, Jean Arp, André Masson, and Max Ernst were very influential, especially in the United States during the 1940s.

Rene Magritte 1928-1929, Surrealism

Throughout the 1930s, Surrealism continued to become more visible to the public at large. A Surrealist group developed in Britain and, according to Breton, their 1936 London International Surrealist Exhibition was a high water mark of the period and became the model for international exhibitions. Surrealist groups in Japan, and especially in Latin America, the Caribbean and in Mexico produced innovative and original works.

Dalí and Magritte created some of the most widely recognized images of the movement. The 1928/1929 painting This Is Not A Pipe, by Magritte is the subject of a Michel Foucault 1973 book, This is not a Pipe (English edition, 1991), that discusses the painting and its paradox. Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935.

Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, and perception, sometimes evoking empathy from the viewer, sometimes laughter and sometimes outrage and bewilderment.

1931 marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: in one example (see gallery above) liquid shapes become the trademark of Dalí, particularly in his The Persistence of Memory, which features the image of watches that sag as if they are melting. Evocations of time and its compelling mystery and absurdity.^[28]

The characteristics of this style - a combination of the depictive, the abstract, and the psychological - came to stand for the alienation which many people felt in the modernist period, combined with the sense of reaching more deeply into the psyche, to be "made whole with one's individuality."

André Masson, 1922, early Surrealism

Max Ernst whose 1923 painting Men Shall Know Nothing of This, (seen above) studied philosophy and psychology in Bonn and was interested in the alternative realities experienced by the insane. This painting may have been inspired by the psychoanalyst Sigmund Freud's study of the delusions of a paranoiac, Daniel Paul Schreber. Freud identified Schreber's fantasy of becoming a woman as a castration complex. The central image of two pairs of legs refers to Schreber's hermaphroditic desires. Ernst's inscription on the back of the painting reads: The picture is curious because of its symmetry. The two sexes balance one another.^[29]

During the 1920s André Masson's work was enormously influential in helping the newly arrived in Paris and young artist Joan Miró find his roots in the new Surrealist painting. Miró acknowledged in letters to his dealer Pierre Matisse the importance of Masson as an example to him in his early years in Paris.

Long after personal, political and professional tensions have fragmented the Surrealist group into thin air and ether, Magritte, Miro, Dalí and the other Surrealists continue to define a visual program in the arts.

[edit] Between the Wars

Egon Schiele, Symbolism and Expressionism 1912

Ernst Kirchner Die Brücke 1913

Amadeo Modigliani Symbolism and Expressionism 1917

Stuart Davis American Modernism 1922

Der Blaue Reiter was a German movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded the previous decade in 1905 and was a group of German expressionist artists formed in Dresden in 1905. Founding members of Die Brücke were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members included Max Pechstein, Otto Mueller and others. The group was one of the seminal ones, which in due course had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism.^[30]

Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, whose psychically expressive painting of the Russian dancer Portrait of Alexander Sakharoff, 1909 is in the gallery above, Marianne von Werefkin, Lyonel Feininger and others founded the Der Blaue Reiter group in response to the rejection of Kandinsky's painting Last Judgement from an exhibition. Der Blaue Reiter lacked a central artistic manifesto, but was centered around Kandinsky and Marc. Artists Gabriele Münter and Paul Klee were also involved.

Paul Klee, 1921, Bauhaus

The name of the movement comes from a painting by Kandinsky created in 1903 (see illustration). It is also claimed that the name could have derived from Marc's enthusiasm for horses and Kandinsky's love of the colour blue. For Kandinsky, blue is the colour of spirituality: the darker the blue, the more it awakens human desire for the eternal.

Otto Dix, 1926, German Expressionism

In the USA during the period between World War I and World War II painters tended to go to Europe for recognition. Artists like Marsden Hartley, Patrick Henry Bruce, Gerald Murphy and Stuart Davis, created reputations abroad. In New York City, Albert Pinkham Ryder and Ralph Blakelock were influential and important figures in advanced American painting between 1900 and 1920. During the 1920s photographer Alfred Stieglitz exhibited Georgia O'Keeffe, Arthur Dove, Alfred Henry Maurer, Charles Demuth, John Marin and other artists including European Masters Henri Matisse, Auguste Rodin, Henri Rousseau, Paul Cézanne, and Pablo Picasso, at his gallery the 291.

Expressionism and Symbolism are broad rubrics that describes several important and related movements in 20th century painting that dominated much of the avant-garde art being made in Western, Eastern and Northern Europe. Expressionism was painted largely between World War I and World War II, mostly in France, Germany, Norway, Russia, Belgium, and Austria. Expressionist artists are related to both Surrealism and Symbolism and are each uniquely and somewhat eccentrically personal. Fauvism, Die Brücke, and Der Blaue Reiter are three of the best known groups of Expressionist and Symbolist painters. Artists as interesting and diverse as Marc Chagall, Gustav Klimt, Egon Schiele, Edvard Munch, Emil Nolde, Chaim Soutine, James Ensor, Oskar Kokoschka, Ernst Ludwig Kirchner, Max Beckmann, Franz Marc, Otto Dix, Käthe Schmidt Kollwitz, Georges Rouault, Amedeo Modigliani and some of the Americans abroad like Marsden Hartley, and Stuart Davis, were considered influential expressionist painters. Although Alberto Giacometti is primarily thought of as an intense Surrealist sculptor, he made intense expressionist paintings of figures as well.

Social Consciousness

Thomas Hart Benton 1920, Regionalism

George Bellows, 1924, American realism

Charles Demuth 1928, American Precisionism (proto Pop Art)

Grant Wood, 1930, Social Realism

During the 1920s and the 1930s and the Great Depression, Surrealism, late Cubism, the Bauhaus, De Stijl, Dada, German Expressionism, Expressionism, and modernist and masterful color painters like Henri Matisse and Pierre Bonnard characterized the European art scene. In Germany Max Beckmann, Otto Dix, George Grosz and others politicized their paintings, foreshadowing the coming of World War II. While in America American Scene painting and the Social Realism and Regionalism movements that contained both political and social commentary dominated the art world. Artists like Ben Shahn, Thomas Hart Benton, Grant Wood, George Tooker, John Steuart Curry, Reginald Marsh, and others became prominent. In Latin America besides the Uruguayan painter Joaquín Torres García and Rufino Tamayo from Mexico, the muralist movement with Diego Rivera, David Siqueiros, José Orozco, Pedro Nel Gómez and Santiago Martinez Delgado and the Symbolist paintings by Frida Kahlo began a renaissance of the arts for the region, with a use of color and historic, and political messages. Frida Kahlo's Symbolist works also relate strongly to Surrealism and to the Magic Realism movement in literature. The psychological drama in many of Kahlo's self portraits (above) underscore the vitality and relevance of her paintings to artists in the 21st century.

American Gothic is a painting by Grant Wood from 1930 (see gallery). Portraying a pitchfork-holding farmer and a younger woman in front of a house of Carpenter Gothic style, it is one of the most familiar images in 20th century American art. Art critics had favorable opinions about the painting, like Gertrude Stein and Christopher Morley, they assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson's 1919 Winesburg, Ohio, Sinclair Lewis' 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature.^[31] However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American pioneer spirit.

Diego Rivera is perhaps best known by the public world for his 1933 mural, "Man at the Crossroads", in the lobby of the RCA Building at Rockefeller Center. When his patron Nelson Rockefeller discovered that the mural included a portrait of Lenin and other communist imagery, he fired Rivera, and the unfinished work was eventually destroyed by Rockefeller's staff. The film Cradle Will Rock includes a dramatization of the controversy. Frida Kahlo (Rivera's wife's) works are often characterized by their stark portrayals of pain. Of her 143 paintings 55 are self-portraits, which frequently incorporate symbolic portrayals of her physical and psychological wounds. Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her paintings' bright colors and dramatic symbolism. Christian and Jewish themes are often depicted in her work as well; she combined elements of the classic religious Mexican tradition--which were often bloody and violent--with surrealist renderings. While her paintings are not overtly Christian - she was, after all, an avowed communist - they certainly contain elements of the macabre Mexican Christian style of religious paintings.

Political activism was an important piece of David Siqueiros' life, and frequently inspired him to set aside his artistic career. His art was deeply rooted in the Mexican Revolution, a violent and chaotic period in Mexican history in which various social and political factions fought for recognition and power. The period from the 1920s to the 1950s is known as the Mexican Renaissance, and Siqueiros was active in the attempt to create an art that was at once Mexican and universal. He briefly gave up painting to focus on organizing miners in Jalisco. He ran a political art workshop in New York City in preparation for the 1936 General Strike for Peace and May Day parade. The young Jackson Pollock attended the workshop and helped build floats for the parade. Between 1937 and 1938 he fought in the Spanish Civil War alongside the Spanish Republican forces, in opposition to Francisco Franco's military coup. He was exiled twice from Mexico, once in 1932 and again in 1940, following his assassination attempt on Leon Trotsky.

World conflict

Max Beckmann 1938-1940, Expressionism

Wassily Kandinsky Composition X 1939, Geometric abstraction

Arshile Gorky 1929-1936, pre Abstract Expressionism

Pablo Picasso Guernica 1937, protest against Fascism

During the 1930s radical leftist politics characterized many of the artists connected to Surrealism, including Pablo Picasso.^[32] On 26 April 1937, during the Spanish Civil War, the Basque town of Gernika was the scene of the "Bombing of Gernika" by the Condor Legion of Nazi Germany's Luftwaffe. The Germans were attacking to support the efforts of Francisco Franco to overthrow the Basque Government and the Spanish Republican government. The town was devastated, though the Biscayan assembly and the Oak of Gernika survived. Pablo Picasso painted his mural sized Guernica to commemorate the horrors of the bombing.^[33]

In its final form, Guernica is an immense black and white, 3.5 metre (11 ft) tall and 7.8 metre (23 ft) wide mural painted in oil. The mural presents a scene of death, violence, brutality, suffering, and helplessness without portraying their immediate causes. The choice to paint in black and white contrasts with the intensity of the scene depicted and invokes the immediacy of a newspaper photograph. ^[34] Picasso painted the mural sized painting called Guernica in protest of the bombing. The painting was first exhibited in Paris in 1937, then Scandinavia, then London in 1938 and finally in 1939 at Picasso's request the painting was sent to the United States in an extended loan (for safekeeping) at MoMA. The painting went on a tour of museums throughout the USA until its final return to the Museum of Modern Art in New York City where it was exhibited for nearly thirty years. Finally in accord with Pablo Picasso's wish to give the painting to the people of Spain as a gift, it was sent to Spain in 1981.^[35]

During the Great Depression of the 1930s, through the years of World War II American art was characterized by Social Realism and American Scene Painting (as seen above) in the work of Grant Wood, Edward Hopper, Ben Shahn, Thomas Hart Benton, and several others. Nighthawks (1942) is a painting by Edward Hopper that portrays people sitting in a downtown diner late at night. It is not only Hopper's most famous painting, but one of the most recognizable in American art. It is currently in the collection of the Art Institute of Chicago. The scene was inspired by a diner (since demolished) in Greenwich Village, Hopper's home neighborhood in Manhattan. Hopper began painting it immediately after the attack on Pearl Harbor. After this event there was a large feeling of gloominess over the country, a feeling that is portrayed in the painting. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. This portrayal of modern urban life as empty or lonely is a common theme throughout Hopper's work.

The Dynamic for artists in Europe during the 1930s deteriorated rapidly as the Nazi's power in Germany and across Eastern Europe increased. The climate became so hostile for artists and art associated with Modernism and abstraction that many left for the Americas. Degenerate art was a term adopted by the Nazi regime in Germany to describe virtually all modern art. Such art was banned on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely.

Degenerate Art was also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. German artist Max Beckmann and scores of others fled Europe for New York. In New York City a new generation of young and exciting Modernist painters led by Arshile Gorky, Willem de Kooning, and others were just beginning to come of age.

Arshile Gorky's portrait of Willem de Kooning (above) is an example of the evolution of Abstract Expressionism from the context of figure painting, cubism and surrealism. Along with his friends de Kooning and John D. Graham Gorky created bio-morphically shaped and abstracted figurative compositions that by the 1940s evolved into totally abstract paintings. Gorky's work seems to be a careful analysis of memory, emotion and shape, using line and color to express feeling and nature.

[edit] Towards Mid Century

Frida Kahlo 1940, Latin American Symbolism

Edward Hopper 1942, American Scene painting

Andrew Wyeth 1948, Realism

Lucien Freud 1951 - 1952, British Figurative painting

The 1940s in New York City heralded the triumph of American abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America like Hans Hofmann and John D. Graham. American artists benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, as well as other factors.

Post-Second World War American painting called Abstract expressionism included artists like Jackson Pollock, Willem de Kooning, Arshile Gorky, Mark Rothko, Hans Hofmann, Clyfford Still, Franz Kline, Adolph Gottlieb, Mark Tobey, Barnett Newman, James Brooks, Philip Guston, Robert Motherwell, Conrad Marca-Relli, Jack Tworkov, William Baziotes, Richard Pousette-Dart, Ad Reinhardt, Hedda Sterne, Jimmy Ernst, Bradley Walker Tomlin, and Theodoros Stamos, among others. American Abstract expressionism got its name in 1946 from the art critic Robert Coates. It is seen as combining the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Abstract expressionism, Action painting, and Color Field painting are synonymous with the New York School.

Technically Surrealism was an important predecessor for Abstract expressionism with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all over" look of Pollock's drip paintings.

Abstract Expressionism

Barnett Newman, Onement 1, 1948, Color Field - Abstract Expressionism	Willem De Kooning 1952-1953 Figurative Abstract Expressionism	Jackson Pollock, No. 5, 1948, Abstract Expressionism	Franz Kline 1954 Action painting
Clyfford Still 1957 Color Field - Abstract Expressionism	Hans Hofmann 1959-1960 Abstract Expressionism and Geometric abstraction	Mark Tobey, 1954, Canticle, Abstract Expressionism, Calligraphy, Northwest School	Sam Francis, 1950-1953, Black and Red,

Additionally, Abstract expressionism has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, rather nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist. Pollock's energetic "action paintings", with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque Women series of Willem de Kooning. As seen above in the gallery Woman V is one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first of these paintings, Woman I collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished. The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist. De Kooning's response was to begin three other paintings on the same theme; Woman II collection: The Museum of Modern Art, New York City, Woman III, Tehran Museum of Contemporary Art, Woman IV, Nelson-Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. He may have finished work on Woman I by the end of June, or possibly as late as November 1952, and probably the other three women pictures were concluded at much the same time.^[36] The Woman series are decidedly figurative paintings. Another important artist is Franz Kline, as demonstrated by his painting Number 2, 1954 (see gallery) as with Jackson Pollock and other Abstract Expressionists, was labelled an "action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas.

Clyfford Still, Barnett Newman, (see above), Adolph Gottlieb, and the serenely shimmering blocks of color in Mark Rothko's work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann (see gallery) and Robert Motherwell (gallery) can be comfortably described as practitioners of action painting and Color field painting.

Abstract Expressionism has many stylistic similarities to the Russian artists of the early twentieth century such as Wassily Kandinsky. Although it is true that spontaneity or of the impression of spontaneity characterized many of the abstract expressionists works, most of these paintings involved careful planning, especially since their large size demanded it. An exception might be the drip paintings of Pollock.

Why this style gained mainstream acceptance in the 1950s is a matter of debate. American Social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression but also by the Social Realists of Mexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not long tolerate the social protests of those painters. Abstract expressionism arose during World War II and began to be showcased during the early 1940s at galleries in New York like The Art of This Century Gallery. The late 1940s through the mid 1950s ushered in the McCarthy era. It was after World War II and a time of political conservatism and extreme artistic censorship in the United States. Some people have conjectured that since the subject matter was often totally abstract, Abstract expressionism became a safe strategy for artists to pursue this style. Abstract art could be seen as apolitical. Or if the art was political, the message was largely for the insiders. However those theorists are in the minority. As the first truly original school of painting in America, Abstract expressionism demonstrated the vitality and creativity of the country in the post-war years, as well as its ability (or need) to develop an aesthetic sense that was not constrained by the European standards of beauty.

Although Abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the New York School, and the San Francisco Bay area. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges. The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became a credo of the Color Field painters.

Robert Motherwell, Elegy to the Spanish Republic No. 110

During the 1950s Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell and Adolph Gottlieb. It essentially described abstract paintings with large, flat expanses of color that expressed the sensual, and visual feelings and properties of large areas of nuanced surface. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The overall expanse and gestalt of the work of the early color field painters speaks of an almost religious experience, awestruck in the face of an expanding universe of sensuality, color and surface. During the early to mid-1960s Color Field painting was the term used to describe artists like Jules Olitski, Kenneth Noland, and Helen Frankenthaler, whose works were related to second generation abstract expressionism, and to younger artists like Larry Zox, and Frank Stella, - all moving in a new direction. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Larry Zox, and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. In Mountains and Sea, from 1952, (see above) a seminal work of Colorfield painting by Helen Frankenthaler the artist used the stain technique for the first time.

In Europe there was the continuation of Surrealism, Cubism, Dada and the works of Matisse. Also in Europe, Tachisme (the European equivalent to Abstract expressionism) took hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein and Pierre Soulages among others are considered important figures in post-war European painting.

Eventually abstract painting in America evolved into movements such as Neo-Dada, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, Neo-expressionism and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements, notably Pop art.

Pop Art

Jasper Johns 1954-55 pre-Pop Art	Roy Lichtenstein, 1963 Pop Art	Andy Warhol 1962, Pop Art (repetition)	David Hockney 1967, English Pop Art
Tom Wesselmann, 1962, Collage and Pop art	Wayne Thiebaud, 1963, Pop art	Alex Katz 1970, Pop art	Jim Dine, 1984-1985, Pop art

The term "Pop Art" was used by Lawrence Alloway in England in 1958 to describe paintings that celebrated consumerism of the post World War II era. This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated material consumer culture, advertising, and iconography of the mass production age.^[37]The early works of David Hockney and the works of Richard Hamilton Peter Blake and Eduardo Paolozzi were considered seminal examples in the movement.

Pop Art in America was to a large degree initially inspired by the works of Jasper Johns, Larry Rivers, and Robert Rauschenberg. Although the paintings of Gerald Murphy, Stuart Davis and Charles Demuth during the 1920s and 1930s set the table for Pop Art in America. In New York City during the mid 1950s Robert Rauschenberg and Jasper Johns created works of art that at first seemed to be continuations of Abstract expressionist painting. Actually their works and the work of Larry Rivers, were radical departures from abstract expressionism especially in the use of banal and literal imagery and the inclusion and the combining of mundane materials into their work. The innovations of Johns' specific use of various images and objects like chairs, numbers, targets, beer cans and the American Flag; Rivers paintings of subjects drawn from popular culture such as George Washington crossing the Delaware, and his inclusions of images from advertisements like the camel from Camel cigarettes, and Rauschenberg's surprising constructions using inclusions of objects and pictures taken from popular culture, hardware stores, junkyards, the city streets, and taxidermy gave rise to a radical new movement in American art. Eventually by 1963 the movement came to be known worldwide as Pop Art.

American Pop-Art is exemplified by artists: Andy Warhol, Claes Oldenburg, Wayne Thiebaud, James Rosenquist, Jim Dine, Tom Wesselmann and Roy Lichtenstein among others. Pop art merges popular and mass culture with fine art, while injecting humor, irony, and recognizable imagery and content into the mix. In October 1962 the Sidney Janis Gallery mounted The New Realists the first major Pop Art group exhibition in an uptown art gallery in New York City. Sidney Janis mounted the exhibition in a 57th Street storefront near his gallery at 15 E. 57th Street. The show sent shockwaves through the New York School and reverberated worldwide. Earlier in the fall of 1962 an historically important and ground-breaking New Painting of Common Objects exhibition of Pop Art, curated by Walter Hopps at the Pasadena Art Museum sent shock waves across the Western United States.

While in the downtown scene in New York City's East Village 10th Street galleries artists were formulating an American version of Pop Art. Claes Oldenburg had his storefront, and the Green Gallery on 57th Street began to show Tom Wesselmann and James Rosenquist. Later Leo Castelli exhibited other American artists including the bulk of the careers of Andy Warhol and Roy Lichtenstein and his use of Benday dots, a technique used in commercial reproduction. There is a connection between the radical works of Duchamp, and Man Ray, the rebellious Dadaists - with a sense of humor; and Pop Artists like Alex Katz, Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.

While throughout the 20th century many painters continued to practice landscape and figurative painting with contemporary subjects and solid technique, like Milton Avery, John D. Graham, Fairfield Porter, Edward Hopper, Balthus, Francis Bacon, Nicolas de Staël, Andrew Wyeth, Lucian Freud, Frank Auerbach, Philip Pearlstein, David Park, Nathan Oliveira, David Hockney, Malcolm Morley, Richard Estes, Ralph Goings, Audrey Flack, Chuck Close, Susan Rothenberg, Eric Fischl, Vija Celmins and Richard Diebenkorn.

Figurative, Landscape, Still-Life, and Realism

Balthus, 1951, figurative expressionism

Edward Hopper, 1953, urban

Milton Avery, 1958, landscape

Frank Auerbach, 1960, British Figurative expressionism

During the 1930s through the 1960s abstract painting in America and Europe evolved into movements such as Abstract Expressionism, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, and Lyrical Abstraction. Other artists reacted as a response to the tendency toward abstraction, allowing figurative imagery to continue through various new contexts like the Bay Area Figurative Movement in the 1950s and new forms of expressionism from the 1940s through the 1960s. In Italy during this time, Giorgio Morandi was the foremost still life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements.^[38] Throughout the 20th century many painters practiced Realism and used expressive imagery; practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like still-life painter Giorgio Morandi, Milton Avery, John D. Graham, Fairfield Porter, Edward Hopper, Andrew Wyeth, Balthus, Francis Bacon, Leon Kossoff, Frank Auerbach, Lucian Freud, Philip Pearlstein, Willem de Kooning, Arshile Gorky, Grace Hartigan, Robert De Niro, Sr., Elaine de Kooning and others. Along with Henri Matisse, Pablo Picasso, Pierre Bonnard, Georges Braque, and other 20th century masters.

Francis Bacon 1953, British Expressionism

Study after Velázquez's Portrait of Pope Innocent X, 1953 (see above) is a painting by the Irish born artist Francis Bacon and is an example of Post World War II European Expressionism. The work shows a distorted version of the Portrait of Innocent X painted by the Spanish artist Diego Velázquez in 1650. The work is one of a series of variants of the Velázquez painting which Bacon executed throughout the 1950s and early 1960s, over a total of forty-five works.^[39] When asked why he was compelled to revisit the subject so often, Bacon replied that he had nothing against the Popes, that he merely "wanted an excuse to use these colours, and you can't give ordinary clothes that purple colour without getting into a sort of false fauve manner."^[40] The Pope in this version seethes with anger and aggression, and the dark colors give the image a grotesque and nightmarish appearance.^[41] The pleated curtains of the backdrop are rendered transparent, and seem to fall through the Pope's face.^[42] Italian painter Giorgio Morandi was an important 20th century, early pioneer of Minimalism. Born in Bologna, Italy in 1890, throughout his career, Morandi concentrated almost exclusively on still lives and landscapes, except for a few self-portraits. With great sensitivity to tone, color, and compositional balance, he would depict the same familiar bottles and vases again and again in paintings notable for their simplicity of execution. Morandi executed 133 etchings, a significant body of work in its own right, and his drawings and watercolors often approach abstraction in their economy of means. Through his simple and repetitive motifs and economical use of color, value and surface, Morandi became a prescient and important forerunner of Minimalism. He died in Bologna in 1964.

After World War II the term School of Paris often referred to Tachisme, the European equivalent of American Abstract expressionism and those artists are also related to Cobra. Important proponents being Jean Dubuffet, Pierre Soulages, Nicholas de Staël, Hans Hartung, Serge Poliakoff, and Georges Mathieu, among several others. During the early 1950s Dubuffet (who was always a figurative artist), and de Staël, abandoned abstraction, and returned to imagery via figuration and landscape. De Staël 's work was quickly recognised within the post-war art world, and he became one of the most influential artists of the 1950s. His return to representation (seascapes, footballers, jazz musicians, seagulls) during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters like Richard Diebenkorn, David Park, Elmer Bischoff, Wayne Thiebaud, Nathan Oliveira, Joan Brown and others made a similar move; returning to imagery during the mid-1950s. Much of de Staël 's late work - in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color Field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël 's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop art of the 1960s.

Art Brut, New Realism, Bay Area Figurative Movement, Neo-Dada, Photorealism

Paul Wonner, 1959, Bay Area Figurative Movement	Jasper Johns, 1961, Neo-Dada	Robert Rauschenberg 1963, Neo-Dada	Jean Dubuffet, 1962, Art Brut
Richard Diebenkorn 1963, Bay Area Figurative Movement	Richard Estes 1968, Photorealism	Fairfield Porter 1971-1972, East Coast Figurative painting	Ralph Goings, 1982, Photorealism

During the 1950s and 1960s as abstract painting in America and Europe evolved into movements such as Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. Other artists reacted as a response to the tendency toward abstraction with Art brut,^[43] Fluxus, Neo-Dada, New Realism, allowing imagery to re-emerge through various new contexts like Pop art, the Bay Area Figurative Movement and later in the 1970s Neo-expressionism. The Bay Area Figurative Movement of whom David Park, Elmer Bischoff, Nathan Oliveira and Richard Diebenkorn whose painting Cityscape 1, 1963 is a typical example (see above) were influential members flourished during the 1950s and 1960s in California. Although throughout the 20th century painters continued to practice Realism and use imagery, practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like Milton Avery, Edward Hopper, Jean Dubuffet, Francis Bacon, Frank Auerbach, Lucian Freud, Philip Pearlstein, and others. Younger painters practiced the use of imagery in new and radical ways. Yves Klein, Arman, Martial Raysse, Christo, Niki de Saint Phalle, David Hockney, Alex Katz, Malcolm Morley, Ralph Goings, Audrey Flack, Richard Estes, Chuck Close, Susan Rothenberg, Eric Fischl, and Vija Celmins were a few who became prominent between the 1960s and the 1980s. Fairfield Porter (see above) was largely self-taught, and produced representational work in the midst of the Abstract Expressionist movement. His subjects were primarily landscapes, domestic interiors and portraits of family, friends and fellow artists, many of them affiliated with the New York School of writers, including John Ashbery, Frank O'Hara, and James Schuyler. Many of his paintings were set in or around the family summer house on Great Spruce Head Island, Maine.

Also during the 1960s and 1970s, there was a reaction against painting. Critics like Douglas Crimp viewed the work of artists like Ad Reinhardt, and declared the 'death of painting'. Artists began to practice new ways of making art. New movements gained prominence some of which are: Postminimalism, Earth art, Video art, Installation art, arte povera, performance art, body art, fluxus, mail art, the situationists and conceptual art among others.

Neo-Dada is also a movement that started 1n the 1950s and 1960s and was related to Abstract expressionism only with imagery. Featuring the emergence of combined manufactured items, with artist materials, moving away from previous conventions of painting. This trend in art is exemplified by the work of Jasper Johns and Robert Rauschenberg, whose "combines" in the 1950s were forerunners of Pop Art and Installation art, and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography. Robert Rauschenberg, (see untitled combine, 1963, above), Jasper Johns, Larry Rivers, John Chamberlain, Claes Oldenburg, George Segal, Jim Dine, and Edward Kienholz among others were important pioneers of both abstraction and Pop Art; creating new conventions of art-making; they made acceptable in serious contemporary art circles the radical inclusion of unlikely materials as parts of their works of art.

New abstraction from the 1950s through the 1980s

Ellsworth Kelly, 1951, Hard-edge painting	Helen Frankenthaler 1952, Color Field painting	Morris Louis 1960 Minimalism-Color field	Kenneth Noland, 1964, Post-Painterly Abstraction
Josef Albers 1965, Geometric abstraction	Barnett Newman, 1966, Color Field - Minimalism	Bridget Riley, 1967, Op art	Richard Anuszkiewicz, 1985 Op Art

Color Field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. Color Field painting is related to Post-painterly abstraction, Suprematism, Abstract Expressionism, Hard-edge painting and Lyrical Abstraction.

During the 1960s and 1970s abstract painting continued to develop in America through varied styles. Geometric abstraction, Op art, hard-edge painting, Color Field painting and minimal painting, were some interrelated directions for advanced abstract painting as well as some other new movements. Morris Louis (see gallery) was an important pioneer in advanced Colorfield painting, his work can serve as a bridge between Abstract expressionism, Colorfield painting, and Minimal Art. Two influential teachers Josef Albers and Hans Hofmann introduced a new generation of American artists to their advanced theories of color and space. Josef Albers is best remembered for his work as an Geometric abstractionist painter and theorist. Most famous of all are the hundreds of paintings and prints that make up the series Homage to the Square, (see gallery). In this rigorous series, begun in 1949, Albers explored chromatic interactions with flat colored squares arranged concentrically on the canvas. Albers' theories on art and education were formative for the next generation of artists. His own paintings form the foundation of both hard-edge painting and Op art.

Josef Albers, Hans Hofmann, Ilya Bolotowsky, Burgoyne Diller, Victor Vasarely, Bridget Riley, Richard Anuszkiewicz, Frank Stella, Morris Louis, Kenneth Noland,^[44] Ellsworth Kelly, Barnett Newman, Larry Poons, Ronald Davis, Larry Zox, and Al Held are artists closely associated with Geometric abstraction, Op art, Color Field painting, and in the case of Hofmann and Newman Abstract expressionism as well.

In 1965, an exhibition called The Responsive Eye, curated by William C. Seitz, was held at the Museum of Modern Art, in New York City. The works shown were wide ranging, encompassing the[Minimalism of Frank Stella, the Op art of Larry Poons, the work of Alexander Liberman, alongside the masters of the Op Art movement: Victor Vasarely, Richard Anuszkiewicz, Bridget Riley and others. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. Op art, also known as optical art, is used to describe some paintings and other works of art which use optical illusions. Op art is also closely akin to geometric abstraction and hard-edge painting. Although sometimes the term used for it is perceptual abstraction.

Op art is a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing.^[45] Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.

Color Field painting sought to rid art of superfluous rhetoric. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Larry Zox, and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.

Frank Stella, Kenneth Noland, Ellsworth Kelly, Barnett Newman, Ronald Davis, Neil Williams, Robert Mangold, Charles Hinman, Richard Tuttle, David Novros, and Al Loving are examples of artists associated with the use of the shaped canvas during the period beginning in the early 1960s. Many Geometric abstract artists, minimalists, and Hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract, formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Andre Emmerich Gallery, the Leo Castelli Gallery, the Richard Feigen Gallery, and the Park Place Gallery were important showcases for Color Field painting, shaped canvas painting and Lyrical Abstraction in New York City during the 1960s. There is a connection with post-painterly abstraction, which reacted against abstract expressionisms' mysticism, hyper-subjectivity, and emphasis on making the act of painting itself dramatically visible - as well as the solemn acceptance of the flat rectangle as an almost ritual prerequisite for serious painting. During the 1960s Color Field painting and Minimal art were often closely associated with each other. In actuality by the early 1970s both movements became decidedly diverse.

Washington Color School, Shaped Canvas, Abstract Illusionism, Lyrical Abstraction

Gene Davis 1964, Washington Color School

Frank Stella 1967, Shaped Canvas

Ronald Davis 1968, Abstract Illusionism

Ronnie Landfield, 1968, Lyrical Abstraction

Another related movement of the late 1960s Lyrical Abstraction is a European term that was borrowed by Larry Aldrich (the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut) in 1969 to describe what Aldrich said he saw in the studios of many artists at that time.^[46] It is also the name of an exhibition that originated in the Aldrich Museum and traveled to the Whitney Museum of American Art and other museums throughout the United States between 1969 and 1971.^[47]

Lyrical Abstraction in the late 1960s is characterized by the paintings of Dan Christensen, Ronnie Landfield, Peter Young and others, and along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)^[48] sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse.^[48] Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard-edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.^[49] Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.

Lyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism Lyrical Abstraction as exemplified by the 1968 Ronnie Landfield painting For William Blake, (above) especially in the freewheeling usage of paint - texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting. However the styles are markedly different. Setting it apart from Abstract Expressionism and Action Painting of the 1940s and 1950s is the approach to composition and drama. As seen in Action Painting there is an emphasis on brushstrokes, high compositional drama, dynamic compositional tension. While in Lyrical Abstraction there is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility.^[50],^[51]

Hard-edge painting, Minimalism, Postminimalism, Monochrome painting

Larry Poons, ca. 1964, Hard-edge painting

Robert Mangold 1981, Minimalism

Richard Tuttle, 1967, Postminimalism

Brice Marden, 1966/1986, Monochrome painting

Agnes Martin, Robert Mangold (see above), Brice Marden, Jo Baer, Robert Ryman, Richard Tuttle, Neil Williams, David Novros, Paul Mogenson, are examples of artists associated with Minimalism and (exceptions of Martin, Baer and Marden) the use of the shaped canvas also during the period beginning in the early 1960s. Many Geometric abstract artists, minimalists, and Hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract, formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Bykert Gallery, and the Park Place Gallery were important showcases for Minimalism and shaped canvas painting in New York City during the 1960s.

During the 1960s and 1970s artists as powerful and influential as Robert Motherwell, Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Ellsworth Kelly, Morris Louis, Helen Frankenthaler, Gene Davis, Frank Stella, Kenneth Noland, Joan Mitchell, Friedel Dzubas, and younger artists like Brice Marden, Robert Mangold, Sam Gilliam, Sean Scully, Pat Steir, Elizabeth Murray, Larry Poons, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Joan Snyder, Ross Bleckner, Archie Rand, Susan Crile, and dozens of others produced vital and influential paintings.

During the 1960s and 1970s, there was a reaction against abstract painting. Some critics viewed the work of artists like Ad Reinhardt, and declared the 'death of painting'. Artists began to practice new ways of making art. New movements gained prominence some of which are: Postminimalism, Earth art, Video art, Installation art, arte povera, performance art, body art, fluxus, mail art, the situationists and conceptual art among others.

However still other important innovations in abstract painting took place during the 1960s and the 1970s characterized by Monochrome painting and Hard-edge painting inspired by Ad Reinhardt, Barnett Newman, Milton Resnick, and Ellsworth Kelly. Artists as diversified as Agnes Martin, Al Held, Larry Zox, Frank Stella, Larry Poons, Brice Marden and others explored the the power of simplification. The convergence of Color Field painting, Minimal art, Hard-edge painting, Lyrical Abstraction, and Postminimalism blurredthe distinction between movements that became more apparent in the 1980s and 1990s. The Neo-expressionism movement is related to earlier developments in Abstract expressionism, Neo-Dada, Lyrical Abstraction and Postminimal painting.

Neo Expressionism

Philip Guston 1972, pre-Neo-expressionism

Susan Rothenberg 1979, Neo-expressionism

Eric Fischl 1981, Figurative Neo-expressionism

Anselm Kiefer 1983, European Neo-expressionism

In the late 1960s the abstract expressionist painter Philip Guston helped to lead a transition from abstract expressionism to Neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. These works were inspirational to a new generation of painters interested in a revival of expressive imagery. His painting Painting, Smoking, Eating 1973, seen above in the gallery is an example of Guston's final and conclusive return to representation.

In the late 1970s and early 1980s, there was also a return to painting that occurred almost simultaneously in Italy, Germany, France and Britain. These movements were called Transavantguardia, Neue Wilde, Figuration Libre,^[52] Neo-expressionism and the School of London respectively. These painting were characterized by large formats, free expressive mark making, figuration, myth and imagination. All work in this genre came to be labeled neo-expressionism. Critical reaction was divided. Some critics regarded it as driven by profit motivations by large commercial galleries. This type of art continues in popularity into the 21st century, even after the art crash of the late 1980s. Anselm Kiefer is a leading figure in European Neo-expressionism by the 1980s, (see To the Unknown Painter 1983, in the gallery above) Kiefer's themes widened from a focus on Germany's role in civilization to the fate of art and culture in general. His work became more sculptural and involves not only national identity and collective memory, but also occult symbolism, theology and mysticism. The theme of all the work is the trauma experienced by entire societies, and the continual rebirth and renewal in life.

During the late 1970s in the United States painters who began working with invigorated surfaces and who returned to imagery like Susan Rothenberg gained in popularity, especially as seen above in paintings like Horse 2, 1979. During the 1980s American artists like Eric Fischl, (see Bad Boy, 1981, above), David Salle, Jean-Michel Basquiat, Julian Schnabel, and Keith Haring, and Italian painters like Mimmo Paladino, Sandro Chia, and Enzo Cucchi, among others defined the idea of Neo-expressionism in America.

Neo-expressionism was a style of modern painting that became popular in the late 1970s and dominated the art market until the mid-1980s. It developed in Europe as a reaction against the conceptual and minimalistic art of the 1960s and 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in a virtually abstract manner), in a rough and violently emotional way using vivid colours and banal colour harmonies. The veteran painters Philip Guston, Frank Auerbach, Leon Kossoff, Gerhard Richter, A. R. Penck and Georg Baselitz, along with slightly younger artists like Anselm Kiefer, Eric Fischl, Susan Rothenberg, Francesco Clemente, Jean-Michel Basquiat, Julian Schnabel, Keith Haring, and many others became known for working in this intense expressionist vein of painting.

Painting still holds a respected position in contemporary art. Art is an open field no longer divided by the objective versus non-objective dichotomy. Artists can achieve critical success whether their images are representational or abstract. What has currency is content, exploring the boundaries of the medium, and a refusal to recapitulate the works of the past as an end goal.

Contemporary painting into the 21st Century

At the beginning of the 21st century Contemporary painting and Contemporary art in general continues in several contiguous modes, characterized by the idea of pluralism. The "crisis" in painting and current art and current art criticism today is brought about by pluralism. There is no consensus, nor need there be, as to a representative style of the age. There is an anything goes attitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. Consequently magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.

Hard-edge painting, Geometric abstraction, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop Art, Op Art, Abstract Expressionism, Color Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting, traditional figure painting, Landscape painting, Portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.

Painting in the Americas

During the period before and after European exploration and settlement of the Americas, including North America, Central America, South America and the Islands of the Caribbean, the Antilles, the Lesser Antilles and other island groups, indigenous native cultures produced creative works including architecture, pottery, ceramics, weaving, carving, sculpture, painting and murals as well as other religious and utilitarian objects. Each continent of the Americas hosted societies that were unique and individually developed cultures; that produced totems, works of religious symbolism, and decorative and expressive painted works. African influence was especially strong in the art of the Caribbean and South America. The arts of the indigenous people of the Americas had an enormous impact and influence on European art and vice-versa during and after the Age of Exploration. Spain, Portugal, France, The Netherlands, and England were all powerful and influential colonial powers in the Americas during and after the 15th century. By the 19th century cultural influence began to flow both ways across the Atlantic

Mexico and Central America

Great Goddess mural from the site at Teotihuacán, Mexico	A portion of the actual mural from the Tepantitla compound which appears under the Great Goddess portrait, Mexico	Mural from the Tepantitla compound showing what has been identified as an aspect of the Great Goddess of Teotihuacan, from a reproduction in the National Museum of Anthropology in Mexico City	Jaguar mural from the site at Teotihuacán, Mexico
A Mayan mural from Guatemala, Pre-Classical period (1–250 AD)	Painting on the Lord of the jaguar pelt throne vase, a scene of the Maya court, 700-800 AD.	A Mayan mural from Bonampak, Mexico, 580–800 AD.	A Mayan mural from Bonampak, 580–800 AD
Painting from a Maya codex	Painted pottery figurine of a drunkard from the burial site at Jaina Island, Mayan art, 400–800 AD.	Painted relief of the Maya site Palenque, featuring the son of K'inich Ahkal Mo' Naab' III (678–730s?, r. 722–729).	Painting on a Maya vase from the Late Classical Period (600–900), from Copán, Honduras
An Aztec painting from the Codex Borgia	An Aztec painting from the Codex Borbonicus	Detail from the Battle Mural, c.600-700, Cacaxtla, Mexico	A painting from Codex Mendoza showing elder Aztecs being given intoxicants, Mexico, c.1553

[edit] South America

Killer Whale, painted pottery, Nazca culture, 300 BC–800 AD, Larco Museum. Lima, Peru	Painted pottery from the Nazca culture of Peru, 300 BC–800 AD	A Moche mural of a decapitator from the Huaca de la Luna site, Peru, 100–700 AD.	Moche murals from the Huaca de la Luna site, Peru, 100–700 AD.
Painted pottery from the Huari culture of Peru, 500–1200 AD	Body painting, Indigenous peoples in Brazil, a Brazilian Indian couple, c.2000

North America

United States

The Great Gallery, Pictographs, Canyonlands National Park, Horseshoe Canyon, Utah, 15 feet (4.6 m) by 200 feet (61 m), c. 1500 BCE	Pictograph, southeastern Utah, c. 1200 BC Pueblo culture	Painted pottery, Anasazi, North America: A canteen (pot) excavated from the ruins in Chaco Canyon, New Mexico, c. 700 AD–1100 AD	Painted ceramic jug showing the underwater panther from the Mississippian culture, found at Rose Mound in Cross County, Arkansas, c. 1400-1600.
A Haida wolf mask, 1880.	A Hopi jar by Nampeyo, made in Arizona, 1880.	A girl from the Zuni tribe of New Mexico with a painted pottery jar, photographed in c. 1903.	Edward S. Curtis, Navajo sandpainting, sepia photogravure c. 1907
Navajo man in ceremonial dress with mask and body paint, c. 1904	An Uncompaghre Ute, Shaved Beaver Hide Painting. The Northern Ute would trap beavers, shave images into the animals' stretched and cured hides, and use them to decorate their personal and ceremonial dwellings, c. 19th century.	Tlingit totem pole in Ketchikan, Alaska, circa 1901.	The K'alyaan Totem Pole of the Tlingit Kiks.ádi Clan, erected at Sitka National Historical Park to commemorate the lives lost in the 1804 Battle of Sitka.
A totem pole in Ketchikan, Alaska, in the Tlingit style.	Fish mask of the Yupi'k people, painted wood, Yukon/Kuskokwim region Alaska, c. early 20th century	From Saxman Totem Park, Ketchikan, Alaska	From Saxman Totem Park, Ketchikan, Alaska

Canada

A totem pole in Totem Park, Victoria, British Columbia.

From Totem Park, Victoria, British Colum

Caribbean

Rock petroglyph overlayed with chalk, Caguana Indigenous Ceremonial Center. Utuado, Puerto Rico.

[edit] Islamic painting

Yahyâ ibn Mahmûd al-Wâsitî, Iraq, 1237	Yahyâ ibn Mahmûd al-Wâsitî, Iraq, 1237	Syrischer Maler, 1315 Metropolitan Museum of Art	Ilkhanid Shahnameh, ca. 1330-1340, Smithsonian
Behzād, 1494-45, British Museum	Persian miniature painting, CE 1550	Reza Abbasi, 1609	Razmnama, 1616, British Museum
Two Lovers by Reza Abbasi, 1630	Persian miniature Harun al-Rashid in Thousand and One Nights	Reza Abbasi, 1620	Adam and Eve, Safavid Iran, c. 1550 AD.
A painting depicting Abû Zayd, 1335 AD.	A scene from the book of Ahmad ibn al-Husayn ibn al-Ahnaf, showing two galloping horsemen, 1210 AD.	The angel Isrâfîl, Iraq, 1280 AD.	The Clerk, Iraq, 1287.
An ornamental Quran, by al-Bawwâb, 11th century AD.	Mehmet II, from the Sarai Albums of Istanbul, Turkey, 15th century AD.	Maiden in a fur cap, by Muhammad ‘Alî, Isfahan, Iran, mid 17th century.	Youth and Suitors, Mashhad, Iran, 1556-1565 AD.

The depiction of humans, animals or any another figurative subjects is forbidden within Islam to prevent believers from idolatry so there is no religiously motivated painting (or sculpture) tradition within Muslim culture. Pictorial activity was reduced to Arabesque, mainly abstract, with geometrical configuration or floral and plant-like patterns. Strongly connected to architecture and calligraphy, it can be widely seen as used for the painting of tiles in mosques or in illuminations around the text of the Koran and other books. In fact abstract art is not an invention of modern art but it is present in pre-classical, barbarian and non-western cultures many centuries before it and is essentially a decorative or applied art. Notable illustrator M. C. Escher was influenced by this geometrical and pattern based art. Art Nouveau (Aubrey Beardsley and the architect Antonio Gaudi) re-introduced abstract floral patterns into western art.

Note that despite the taboo of figurative visualization, some muslim countries did cultivate a rich tradition in painting, though not in its own right, but as a companion to the written word. Iranian or Persian art, widely known as Persian miniature, concentrates on the illustration of epic or romantic works of literature. Persian illustrators deliberately avoided the use of shading and perspective, though familiar with it in their pre-islamic history, in order to abide by the rule of not creating any life-like illusion of the real world. Their aim was not to depict the world as it is, but to create images of an ideal world of timeless beauty and perfect order.

In present days, painting by art students or professional artists in arab and non-arab muslim countries follow the same tendencies of Western culture art.

Iran

Oriental historian Basil Gray believes "Iran has offered a particularly unique [sic] art to the world which is excellent in its kind".

Caves in Iran's Lorestan province exhibit painted imagery of animals and hunting scenes. Some such as those in Fars Province and Sialk are at least 5,000 years old.

Painting in Iran is thought to have reached a climax during the Tamerlane era when outstanding masters such as Kamaleddin Behzad gave birth to a new style of painting.

Paintings of the Qajar period, are a combination of European influences and Safavid miniature schools of painting such as those introduced by Reza Abbasi. Masters such as Kamal-ol-molk, further pushed forward the European influence in Iran. It was during the Qajar era when "Coffee House painting" emerged. Subjects of this style were often religious in nature depicting scenes from Shia epics and the like.

Pakistan

Lubna Agha, Star - a painting inspired by the artisans of Morocco

AR Chughtai, Anarkali

Australia

Africa

Himba woman covered with traditional red ochre pigment. Traditional body paint symbolic of the earth and of blood, and also worn for protection from the sun.

A Kĩkũyũ woman in traditional dress. Ceremonial Face Painting.

Young Maasai Warrior, with head-dress and Face Painting.

Dogon, circumcision cave, with paintings Mali c. contemporary

African traditional culture and tribes do not seem to have great interest in two-dimensional representations in favour of sculpture and Relief. However, decorative painting in African culture is often abstract and geometrical. Another pictorial manifestation is body painting, and face painting present for example in Maasai and Kĩkũyũ culture in their ceremony rituals. Ceremonial Cave painting in certain villages can be found to be still in use. Note that Pablo Picasso and other modern artists were influenced by African sculpture and Masks in their varied styles. Contemporary African artists follow western art movements and their paintings have little difference from occidental art works.

Influence on Western art

At the start of the 20th century, artists like Picasso, Matisse, Vincent van Gogh, Paul Gauguin and Modigliani became aware of, and were inspired by, African art. In a situation where the established avant garde was straining against the constraints imposed by serving the world of appearances, African Art demonstrated the power of supremely well organised forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination, emotion and mystical and religious experience. These artists saw in African Art a formal perfection and sophistication unified with phenomenal expressive power.