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Oil paint is form of a slow-drying paint that consists of particles of pigment suspended in a drying oil that forms a tough, coloured film on exposure to air

For paints, linseed oil is most commonly used, but poppy, sunflower, safflower, soya bean and walnut oils can also been used. The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually, making changes or corrections if necessary.

Oil paints blend well with each other, making subtle variations of colour possible as well as more easily creating details of light and shadow.

Refers both to the medium and works of art made using the medium of watercolour – a water soluble paint with transparent properties

Watercolour paint consists of fine pigment particles suspended in a water-soluble binder (adhesive substance). It is usually used on paper. As watercolour is semi-transparent, the white of the paper gives a natural luminosity to the washes of colour. White areas of the image often are merely left unpainted to expose the paper.

The paint can be applied in various techniques such as wet-on-wet and wet-on-dry to obtain different effects.

The technique of painting with pigments bound in a water-soluble emulsion, such as water and egg yolk, or an oil-in-water emulsion such as oil and a whole egg

Traditionally applied to a rigid support such as a wood panel, the paint dries to a hard film.

Fresco is a mural painting technique that involves painting with water-based paint directly onto wet plaster so that the paint becomes an integral part of the plaster

To make the painting, an area of the wall corresponding to a day’s work is freshly plastered and the design retraced joining up with the uncovered parts. This area is then painted on while still wet, using water-based paint. The paint is absorbed into the wet plaster thus making it a durable mural technique. Some touching up can be done when the plaster is dry but a whole fresco painted on dry plaster is liable to flake off.

Developed in Italy from about the thirteenth century and fresco was perfected during the Renaissance.

Gouache is a type of water-soluble paint that, unlike watercolour, is opaque so the white of the paper surface does not show through

The term gouache was first used in France in the eighteenth century to describe a type of paint made from pigments bound in water-soluble gum, like watercolour, but with the addition of a white pigment in order to make it opaque.

Gouache forms a thicker layer of paint on the paper surface and does not allow the paper to show through. It is often used to create highlights in watercolours.

Acrylic paint is water-based fast-drying paint widely used by artists since the 1960s.

First made in the 1950s acrylic paint uses a synthetic resin to bind pigments. As it can be diluted with water and used thinly or thickly depending on how much water is added to it, it can resemble a watercolor or an oil painting, or have its own unique characteristics not attainable with other media. Acrylic paint is waterproof once it has dried.

Artist David Hockney was an early champion of acrylic paint, using it to create some of his best known works of the 1960s.

Pastel is a coloured drawing medium made from pure coloured pigment mixed with a binder to form a stick

Soft pastel is the most commonly used and is easily blended on the paper by smudging with a finger, soft cloth or a drawing tool such as a tortillon (a small cylinder of tightly rolled paper manufactured specially for this purpose).

Oil pastels are made using an oil and wax binder and have a creamy consistency very different to the chalkier consistency of soft pastels.

Drawing is essentially a technique in which images are depicted on a surface by making lines, though drawings can also contain tonal areas, washes and other non-linear marks

Charcoal is a black crumbly drawing material made of carbon and often used for sketching and under-drawing for paintings, although can also be used to create more finished drawings

Charcoal is traditionally made from thin peeled willow twigs which are heated without the presence of oxygen. This produces black crumbly sticks, which leave microscopic particles in the paper or textile fibres, producing a line that is dense at the pressure point, but more diffuse or powdery at the edges.

Charcoal smudges easily and is often protected with a sprayed fixative.

encaustic painting, painting technique in which pigments are mixed with hot liquid wax.

After the paint has been applied to the support, which is usually made of wood, plaster, or canvas, a heating element is passed over the surface until the individual brush or spatula marks fuse into a uniform film.

Encaustic wax has many of the properties of oil paint: it can give a very brilliant and attractive effect and offers great scope for elegant and expressive brushwork. The practical difficulties of using a medium that has to be kept warm are considerable, though.

Encaustic painting was invented by the ancient Greeks and was brought to the peak of its technical perfection by the genre painter Pausias in the 4th century bce.

Encaustic paint was used as early as the 4th and 5th centuries BCE in Greece. The paint was applied warm with a spatula or brush. It hardened quickly and fused to the surface.

Works created with ink and diluted ink applied with a brush, usually on paper. They are variously classified as paintings or as drawings. Examples of highly developed ink wash paintings are found in Chinese and Japanese tradition.

which means watering the ink and describing the motifs through gradations of light and dark ink.

To accomplish his goal, the Chinese painter more often than not rejected the use of color. Like the photographer who prefers to work in black and white, the Chinese artist regarded color as distraction. He also rejected the changeable qualities of light and shadow as a means of modeling, along with opaque pigments to conceal mistakes. Instead, he relied on line—the indelible mark of the inked brush.

Scholar-official painters most often worked in ink on paper and chose subjects—bamboo, old trees, rocks—that could be drawn using the same kind of disciplined brush skills required for calligraphy.

A method of relief printing from a block of wood cut along the grain

The block is carved so that an image stands out in relief. The relief image is then inked and paper placed against its surface before being run through a press. It is possible to make a woodcut without a press (Japanese Ukiyo-e prints for example) by placing the inked block against a sheet of paper and applying pressure by hand.

Woodblock printing was used in Europe from the twelfth century, at first for printing textiles, though images were printed on paper by the late fourteenth century.

Etching is a printmaking technique that uses chemical action to produce incised lines in a metal printing plate which then hold the applied ink and form the image

The plate, traditionally copper but now usually zinc, is prepared with an acid-resistant ground. Lines are drawn through the ground, exposing the metal. The plate is then immersed in acid and the exposed metal is ‘bitten’, producing incised lines. Stronger acid and longer exposure produce more deeply bitten lines.

The design is manually incised into an engraving plate using a burin, an engraving tool like a very fine chisel with a lozenge-shaped tip. The burin makes incisions into the metal at various angles and with varying pressure which dictates the quantity of ink the line can hold – hence variations in width and darkness when printed.

However it was not until about 1430 in Germany that engraved plates began to be used for making prints.

Lithography is a printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent

A printing process based on the fact that grease and water don’t mix.

Lithography was invented in the late eighteenth century, initially using Bavarian limestone as the printing surface. Its invention made it possible to print a much wider range of marks and areas of tone than possible with earlier printmaking relief or intaglio methods. It also made colour printing easier

A variety of stencil printing, using a screen made from fabric (silk or synthetic) stretched tightly over a frame

Ink or paint is then forced through the (non-blocked areas of) open fabric with a rubber blade, known as a squeegee, onto the paper.

Screenprinting has been used commercially since the 1920s. It first began to be used by artists in 1930s America and the term ‘serigraph’ was initially used to denote an artist’s print, as opposed to commercial work. It has been widely used by artists as a printmaking technique since the 1950s.

Naturalism was a broad movement in the nineteenth century which represented things closer to the way we see them

Until the early nineteenth century both landscape and the human figure in art tended to be idealised or stylised according to conventions derived from the classical tradition.

Naturalism is often associated with plein air practice (painting landscapes and other scenes from life out-of-doors).

The representation of persons, natural forms, or scenes in a way that highlights their best features, minimizes imperfect features, or alters features to conform with what is considered most perfect or most beautiful.

The style considered appropriate to use for history painting was classical and idealised – known as the ‘grand style’ – and the result was known overall as High Art.

Representation of natural forms in a simplified or exaggerated manner. More broadly, the representation of appearances, sounds, motions, shapes, speech, or gestures in accordance with conventions of a particular style rather than with observation of individual examples.

The term can be applied to art that is based on an object, figure or landscape, where forms have been simplified or schematised.

Abstract art is art that does not attempt to represent an accurate depiction of a visual reality but instead uses shapes, colours, forms and gestural marks to achieve its effect

The term can be applied to art that is based on an object, figure or landscape, where forms have been simplified or schematised.

It is also applied to art that uses forms, such as geometric shapes or gestural marks, which have no source at all in an external visual reality.

Minimalism is an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle

With minimalism, no attempt is made to represent an outside reality, the artist wants the viewer to respond only to what is in front of them. The medium, (or material) from which it is made, and the form of the work is the reality.

Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation. It flourished in the 1960s and 1970s with Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin and Robert Morris becoming the movement’s most important innovators.

Photorealism is a painting style that emerged in Europe and the USA in the late 1960s, characterised by its painstaking detail and precision

Photorealism rejected the painterly qualities by which individual artists could be recognised, and instead strove to create pictures that looked photographic. Visual complexity, heightened clarity and a desire to be emotionally neutral led to banal subject matter that likened the movement to pop art.

Expressionist art refers to the expression of subjective emotions, inner experiences and spiritual themes, as opposed to realistic depictions of people or nature

In expressionist painting, colours may appear intense and non-naturalistic, forms become distorted, brushwork is typically free and paint application tends to be generous and highly textured.

While ‘expressionist’ can be used to describe artworks from any era, the term originates from modern artists working in Germany in the early 20th century.

Refers also to two-dimensional images lacking spatial qualities, and to areas of color without variations.

Term associated with the style of symbolic representation adopted by Paul Gauguin and his followers in the 1880s characterised by flat areas of colour and bold outlines

It is well to remember that a picture before being a battle horse, a nude woman, or some anecdote, is essentially a flat surface covered with colours assembled in a certain order

Les Nabis were a group of post-impressionist French painters active from 1888–1900 whose work is characterised by flat patches of colour, bold contours and simplified drawing

Painting technique whereby tones and hues are obtained by applying regular small dots or touches of unmixed pigment on the canvas so that they combine optically. The French critic Félix Fénéon coined the term "peinture au point" in 1886 after seeing Seurat's "La Grande Jatte."

Instead of mixing colours on the palette, which reduces intensity, the primary-colour components of each colour were placed separately on the canvas in tiny dabs so they would mix in the spectator’s eye. Optically mixed colours move towards white so this method gave greater luminosity.

Neo-impressionism is characterised by the use of the divisionist technique (often popularly but incorrectly called pointillism, a term Paul Signac repudiated).

The term history painting was introduced in the seventeenth century to describe paintings with subject matter drawn from classical history and mythology, and the Bible – in the eighteenth century it was also used to refer to more recent historical subjects

The term ‘history painting’ was introduced by the French Royal Academy in the seventeenth century. It was seen as the most important type (or ‘genre’), of painting above portraiture, the depiction of scenes from daily life (called genre painting), landscape and still life painting.

The style considered appropriate to use for history painting was classical and idealised – known as the ‘grand style’ – and the result was known overall as High Art.

Genres are types of painting. These were codified in the seventeenth century as (in descending order of importance) history, portrait, genre (scenes of everyday life), landscape and still life

This hierarchy of genres, established by the French Royal Academy, was based on the notion of man as the measure of all things. Landscape and still life were the lowest because they did not involve human subject matter. History was highest because it dealt with the noblest events of human history and with religion.

Ainsi celui qui fait parfaitement des paysages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes et sans mouvement;

Néanmoins un Peintre qui ne fait que des portraits, n'a pas encore atteint cette haute perfection de l'Art, et ne peut prétendre à l'honneur que reçoivent les plus savants.

A portrait is a representation of a particular person. A self-portrait is a portrait of the artist by the artist

They have been used to show the power, importance, virtue, beauty, wealth, taste, learning or other qualities of the sitter. Portraits have almost always been flattering, and painters who refused to flatter, such as William Hogarth, tended to find their work rejected.

Genres are types of painting. These were codified in the seventeenth century as (in descending order of importance) history, portrait, genre (scenes of everyday life), landscape and still life

This hierarchy of genres, established by the French Royal Academy, was based on the notion of man as the measure of all things. Landscape and still life were the lowest because they did not involve human subject matter. History was highest because it dealt with the noblest events of human history and with religion.

The term genre painting refers to paintings which depict scenes of everyday life

Genre painting developed particularly in Holland in the seventeenth century. The most typical subjects were scenes of peasant life or drinking in taverns, and tended to be small in scale.

Genre is a French word meaning “kind” or “variety” and, starting from the late eighteenth century, French writers used the phrase “genre painting” to describe illustrations of everyday life, in contrast to history painting.

Genres are types of painting. These were codified in the seventeenth century as (in descending order of importance) history, portrait, genre (scenes of everyday life), landscape and still life

This hierarchy of genres, established by the French Royal Academy, was based on the notion of man as the measure of all things. Landscape and still life were the lowest because they did not involve human subject matter. History was highest because it dealt with the noblest events of human history and with religion.

Landscape is one of the principal types or genres of subject in Western art

Until the seventeenth century landscape was confined to the background of portraits or paintings dealing principally with religious, mythological or historical subjects (History painting).

Their treatment of landscape however was highly stylised or artificial: they tried to evoke the landscape of classical Greece and Rome and their work became known as classical landscape. At the same time Dutch landscape painters such as Jacob van Ruysdael were developing a much more naturalistic form of landscape painting, based on what they saw around them.

Genres are types of painting. These were codified in the seventeenth century as (in descending order of importance) history, portrait, genre (scenes of everyday life), landscape and still life

This hierarchy of genres, established by the French Royal Academy, was based on the notion of man as the measure of all things. Landscape and still life were the lowest because they did not involve human subject matter. History was highest because it dealt with the noblest events of human history and with religion.

One of the principal genres (subject types) of Western art – essentially, the subject matter of a still life painting or sculpture is anything that does not move or is dead

Still life can be a celebration of material pleasures such as food and wine, or often a warning of the ephemerality of these pleasures and of the brevity of human life (see memento mori).

In the hierarchy of genres (or subject types) for art established in the seventeenth century by the French Academy, still life was ranked at the bottom – fifth after history painting, portraiture, genre painting (scenes of everyday life) and landscape. Still life and landscape were considered lowly because they did not involve human subject matter.

Ainsi celui qui fait parfaitement des paysages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes et sans mouvement;

Néanmoins un Peintre qui ne fait que des portraits, n'a pas encore atteint cette haute perfection de l'Art, et ne peut prétendre à l'honneur que reçoivent les plus savants.

Paintings in which the primary subject is an animal, generally a dog, horse, or other prized pet or livestock, or an exotic wild animal. The subject genre was highly developed in 18th-century European painting.

Ainsi celui qui fait parfaitement des paysages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes et sans mouvement;

Néanmoins un Peintre qui ne fait que des portraits, n'a pas encore atteint cette haute perfection de l'Art, et ne peut prétendre à l'honneur que reçoivent les plus savants.

By the late Tang dynasty, landscape painting had evolved into an independent genre that embodied the universal longing of cultivated men to escape their quotidian world to commune with nature.

Painting was no longer about the description of the visible world; it became a means of conveying the inner landscape of the artist’s heart and mind.

Viewing Chinese landscape paintings, it is clear that Chinese depictions of nature are seldom mere representations of the external world.

East Asian paintings primarily depicting birds, and plants, and natural subjects. Paintings of this genre originated in China

According to Chinese tradition, the huaniaohua covers "flowers, birds, fish, and insects"

The intended purpose of the huaniaohua was not simply to imitate nature, but to use different painting styles to convey the personality and ideas of the artist.

In Chinese culture, different types of birds and flowers hold their own symbolic meanings;

Artists from the Han (206 BC – 220 AD) to the Tang (618–906) dynasties mainly painted the human figure.

Most of the Tang artists outlined figures with fine black lines and used brilliant color and elaborate detail. However, one Tang artist, the master Wu Daozi, used only black ink and freely painted brushstrokes

Even when these artists illustrated Confucian moral themes – such as the proper behavior of a wife to her husband or of children to their parents – they tried to make the figures graceful.

they left the craft of formal portraiture to professional artisans. Such craftsmen might be skilled in capturing an individual’s likeness

In Chinese art, the Four Gentlemen or Four Noble Ones (Chinese: 四君子; pinyin: Sì Jūnzǐ), is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum.

The Four Gentlemen are a recurring theme in art because of their long history as symbols of traditional Chinese virtues, such as uprightness, purity, humility, and perseverance despite harsh conditions.

Each of them represent a different season (the plum blossom for winter, the orchid for spring, the bamboo for summer, and the chrysanthemum for autumn)

Scholar-official painters most often worked in ink on paper and chose subjects—bamboo, old trees, rocks—that could be drawn using the same kind of disciplined brush skills required for calligraphy.

Similarly, in Korean art, genre painting refers to pictures of people’s daily activities. Korean genre paintings, particularly from the eighteenth century, are esteemed for their candid, realistic representations of Joseon society (1392–1910)

Kim Hongdo (1745–ca. 1806; sobriquet Danwon), a court painter from the jung-in (“middle people”) class, is most credited for this florescence.

While Kim was known for portraying the lives of the everyday man, Sin Yunbok became famous for his illustrations of yangban leisure activities, especially those involving gisaeng (courtesans).

Kim Hongdo pays special attention to each individual, providing him or her with a specific countenance and emotion.

…also a new emphasis on minhwa (folk painting), a type of painting whose patrons were mostly commoners. Such works were created by anonymous artisans who followed the norms and forms of large-scale, brightly coloured decorative and ritual court paintings but reduced them to a smaller scale.