painting
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Family Group [Credit: Photograph by Trish Mayo. Brooklyn Museum, New York, Dick S. Ramsay Fund, 57.68]"/>
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Virgin and Child with St. Anne [Credit: Photograph, courtesy of Giraudon—Art Resource, New York]"/>
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Virgin and Child [Credit: Archivo Mas, Barcelona]"/>
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Christ Discovered in the Temple [Credit: Board of Trustees of the National Museums and Galleries in Merseyside (Walker Art Gallery Liverpool)]"/>
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The Annunciation [Credit: © Photos.com/Jupiterimages]"/>
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The Monumental Turf [Credit: Courtesy of the Albertina, Vienna]"/>
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The Lauerzersee with Schwyz and the Mythen [Credit: In a private collection]"/>
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Woodcutter Gazing at Waterfall [Credit: Courtesy of the Stanford University Museum of Art, California, Ikeda Collection]"/>
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Le Luxe II [Credit: Courtesy of the Statens Museum for Kunst, Copenhagen]"/>
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Fall [Credit: Courtesy of the trustees of The Tate Gallery, London]"/>
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Young Lady of the Leblond Family [Credit: SCALA—Art Resource/EB Inc.]"/>
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A Young Man Among Roses [Credit: Courtesy of Victoria and Albert Museum, London]"/>
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Las cántigas de Santa María [Credit: Gianni Dagli Orti/Corbis]"/>
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The Admonitions of the Court Instructress [Credit: © The British Museum/Heritage-Images]"/>
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Les Très Riches Heures du duc de Berry [Credit: The Granger Collection, New York]"/>
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Forms of painting
Mural painting
Mural painting has its roots in the primeval instincts of people to decorate their surroundings and to use wall surfaces as a form for expressing ideas, emotions, and beliefs. In their universal manifestation in graffiti and in ancient murals, such as cave paintings and protodynastic Egyptian frescoes, symbols and representational images have been spread freely and indiscriminately across walls, ceilings, and floors. But, in more disciplined attempts to symbolize the importance and function of particular buildings through their interior decoration, murals have been designed for the restricted framework of specific surface areas. They therefore have to be painted in close relationship to the scale, style, and mood of the interior and with regard to such siting considerations as light sources, eye levels, the spectators’ lines of sight and means of approach, and the emotive scale relationship between spectators and the painted images.
Early mural decorations for tombs, temples, sanctuaries, and catacombs were generally designed in horizontal divisions and vertical axes. These grid patterns were in harmony with the austere character of the interiors, and their geometrical plan enabled the artist to depict clearly the various episodes and symbols of a narrative ... (200 of 19,544 words)