French standard sizes foroil paintings refers to a series of different sizedcanvases for use by artists. The sizes were fixed in the 19th century. Most artists—not only French—used this standard, as it was supported by the main suppliers ofartist materials. Only some contemporary artist material suppliers continue to use these standards today, as most artists no longer differentiate canvas sizes by subject.

The main separation from size 0 (toile de 0) to size 120 (toile de 120) is divided in separate runs for faces/portraits (figure), landscapes (paysage), and marines (marine) which more or less keep the diagonal. That is, afigure 0 corresponds in height to apaysage 1 and amarine 2.
In modern times in the USA size is usually stated height by width, where as in this article it is width by height. (Full article...)

Theconservation and restoration of paintings is carried out by professionalpainting conservators. Paintings cover a wide range of various mediums, materials, and their supports (i.e. the painted surface made from fabric, paper, wood panel, fabricated board, or other). Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, eggtempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along withcollections care (also known as preventive conservation) will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind. (Full article...)

In thevisual arts,style is a "distinctive manner which permits the grouping of works into related categories" or "any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". It refers to the visual appearance of a work ofart that relates it to other works by the same artist or one from the same period, training, location, "school",art movement orarchaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art".

Style is often divided into the general style of a period, country or cultural group, group of artists orart movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such asPicasso for example, these divisions may be marked and easy to see; in others, they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, from the very slow development in style typical ofprehistoric art orAncient Egyptian art to the rapid changes inModern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development. (Full article...)

Apicture frame is a protective and decorative edging for apicture, such as apainting orphotograph. It makes displaying the work safer and easier and both sets the picture apart from its surroundings and aesthetically integrates it with them. (Full article...)

Portrait painting is agenre inpainting, where the intent is to represent a specific human subject. The term 'portrait painting' can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, or they may be inspired by admiration or affection for the subject. Portraits often serve as important state and family records, as well as remembrances.

Historically, portrait paintings have primarily memorialized the rich and powerful. Over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are still commissioned by governments, corporations, groups, clubs, and individuals. In addition to painting, portraits can also be made in other media such asprints (includingetching andlithography),photography,video anddigital art. (Full article...)

Self-portraits areportraits artists make of themselves. Although self-portraits have been made since the earliest times, it is not until the mid-15th century that artists can be frequently identified depicting themselves, as either the main subject or important characters in their work. With better and cheapermirrors, and the advent of thepanel portrait, many painters, sculptors and printmakers tried some form of self-portraiture.Portrait of a Man in a Turban byJan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a separate portrait of his wife, and he belonged to the social group that had begun to commission portraits, already more common among wealthy Netherlanders than south of the Alps. The genre is venerable, but not until theRenaissance, with increased wealth and interest in the individual as a subject, did it become truly popular.

By theBaroque period, most artists with an established reputation at least left drawings of themselves. Printed portraits of artists had a market, and many were self-portraits. They were also sometimes given as gifts to family and friends. If nothing else, they avoided the need to arrange for a model, and for the many professional portrait-painters, a self-portrait kept in the studio acted as a demonstration of the artist's skill for potential new clients. The unprecedented number ofself-portraits by Rembrandt, both as paintings and prints, made clear the potential of the form, and must have further encouraged the trend. (Full article...)

Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, work, and street scenes. Such representations (also calledgenre works,genre scenes, orgenre views) may be realistic, imagined, or romanticized by the artist. Some variations of the termgenre art specify the medium or type of visual work, as ingenre painting,genre prints,genre photographs, and so on.

The following concentrates on painting, but genremotifs were also extremely popular in many forms of thedecorative arts, especially from theRococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of objects such asporcelain, furniture,wallpaper, and textiles. (Full article...)

TheBoston school was a group ofBoston-based painters active in the first three decades of the twentieth century. Often classified asAmerican Impressionists, they had their own regional style, combining thepainterliness ofImpressionism with a more conservative approach to figure painting and a marked respect for the traditions of Western art history. Their preferred subject matter was genteel: portraits, picturesque landscapes, and young women posing in well-appointed interiors. Major influences includedJohn Singer Sargent,Claude Monet, andJan Vermeer. Key figures in the Boston school wereEdmund C. Tarbell,Frank Weston Benson, andWilliam McGregor Paxton, all of whom trained in Paris at theAcadémie Julian and later taught at theSchool of the Museum of Fine Arts. Their influence can still be seen in the work of some contemporary Boston-area artists. (Full article...)

Acombine painting or Combine is an artwork that incorporates elements of bothpainting andsculpture. Items attached to paintings might includethree-dimensional everyday objects such as clothing or furniture, as well as printed matter including photographs or newspaper clippings.

The term is most closely associated with the artwork of American artistRobert Rauschenberg (1925–2008) who coined the phrase Combine to describe his own artworks that explore the boundary between art and the everyday world. By placing them in the context of art, he endowed a new significance to ordinary objects. These cross-medium creations challenged the doctrine ofmedium specificity mentioned by modernist art criticClement Greenberg. (Full article...)

Awash is a term for a visual arts technique resulting in a semi-transparent layer of colour. A wash of dilutedink or watercolor paint applied in combination withdrawing is calledpen and wash,wash drawing, orink and wash. Normally only one or two colours of wash are used; if more colours are used the result is likely to be classified as a fullwatercolor painting.

The classic East Asian tradition ofink wash painting uses black ink in various levels of dilution. Historically associated with thefour arts of thescholar-officials, the technique was often applied tolandscapes in traditionalChinese,Japanese, andKorean painting. (Full article...)

In art, apendant is one of twopaintings,statues,reliefs or other type of works of art intended as a pair. Typically, pendants are related thematically to each other and are displayed in close proximity. For example, pairs of portraits of married couples are very common, as are symmetrically arranged statues flanking analtar.

Diptych differs from a pendant in that two images, reliefs, etc., are connected by hinges or similar means and cannot be separated. (Full article...)

Scottish genre art is the depiction of everyday life in Scotland, or by Scottish artists, emulating thegenre art of Netherlands painters of the sixteenth and seventeenth centuries. Common themes included markets, domestic settings, interiors, parties, inn scenes, and street scenes.

The tradition was founded in Scotland in the late eighteenth century byDavid Allan, who moved from classical and mythological themes to scenes of everyday life, including his most famous workIllustrations of the Gentle Shepherd. As a result he earned the title of "the Scottish Hogarth". By the end of the eighteenth century genre art had become a Scottish speciality. The tradition was successfully taken up byDavid Wilkie, who was one of the most internationally influential artists of this day. (Full article...)

Digital painting is either a physical painting made with the use ofdigital electronics andspray paintrobotics within thedigital artfine art context or pictorial art imagery made withpixels on a computer screen that mimics artworks from the traditional histories ofpainting andillustration. (Full article...)

Volume solid is thevolume ofpaint after it has dried. (Full article...)

Inart criticism of the 1960s and 1970s,flatness described the smoothness and absence of curvature or surface detail of a two-dimensional work of art. (Full article...)

Sign painting is thecraft of paintingletteredsigns on buildings,billboards or signboards, for promoting, announcing, or identifying products, services and events. Sign painting artisans aresignwriters, although in North America they are usually referred to as sign painters. (Full article...)

An"overdoor" (or"Supraporte" as in German, or"sopraporte" as in Italian) is a painting,bas-relief or decorative panel, generally in a horizontal format, that is set, typically withinornamental mouldings, over a door, or was originally intended for this purpose. (Full article...)

The depiction ofnight in paintings is common inWestern art. Paintings that feature a night scene as thetheme may bereligious orhistory paintings,genre scenes,portraits,landscapes, or other subject types. Some artworks involve religious orfantasy topics using the quality of dim night light to create mysterious atmospheres. The source of illumination in a night scene—whether it is the moon or anartificial light source—may be depicted directly, or it may be implied by the character and coloration of the light that reflects from the subjects depicted. They are sometimes callednocturnes, or night-pieces, such asRembrandt'sThe Night Watch, or the German RomanticCaspar David Friedrich'sTwo Men Contemplating the Moon of 1819.

In America,James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term, and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. The use of the term "nocturne" can be associated with theTonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood." Along with winter scenes, nocturnes were a common Tonalist theme.Frederic Remington used the term as well for his nocturne scenes of theAmerican Old West. (Full article...)

Grand manner refers to an idealizedaesthetic style derived fromclassicism and the art of theHigh Renaissance. In the eighteenth century,British artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities. It was SirJoshua Reynolds who gave currency to the term through hisDiscourses on Art, a series of lectures presented at theRoyal Academy from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the "great style" or "grand style", in reference tohistory painting:
:How much the great style exacts from its professors to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact, may be seen in thecartoons of Raffaelle. In all the pictures in which the painter has represented theapostles, he has drawn them with great nobleness; he has given them as much dignity as the human figure is capable of receiving yet we are expressly told in Scripture they had no such respectable appearance; and of St. Paul in particular, we are told by himself, that his bodily presence was mean.Alexander is said to have been of a low stature: a painter ought not so to represent him.Agesilaus was low, lame, and of a mean appearance. None of these defects ought to appear in a piece of which he is the hero. In conformity to custom, I call this part of the arthistory painting; it ought to be calledpoetical, as in reality it is.

Originally applied tohistory painting, regarded as the highest in thehierarchy of genres, the Grand Manner came thereafter also to be applied toportrait painting, with sitters depicted life size and full-length, in surroundings that conveyed the nobility and elite status of the subjects. Common metaphors included the introduction of classical architecture, signifying cultivation and sophistication, and pastoral backgrounds, which implied a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates. (Full article...)

The depiction ofnight in paintings is common inWestern art. Paintings that feature a night scene as thetheme may bereligious orhistory paintings,genre scenes,portraits,landscapes, or other subject types. Some artworks involve religious orfantasy topics using the quality of dim night light to create mysterious atmospheres. The source of illumination in a night scene—whether it is the moon or anartificial light source—may be depicted directly, or it may be implied by the character and coloration of the light that reflects from the subjects depicted. They are sometimes callednocturnes, or night-pieces, such asRembrandt'sThe Night Watch, or the German RomanticCaspar David Friedrich'sTwo Men Contemplating the Moon of 1819.

In America,James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term, and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. The use of the term "nocturne" can be associated with theTonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood." Along with winter scenes, nocturnes were a common Tonalist theme.Frederic Remington used the term as well for his nocturne scenes of theAmerican Old West. (Full article...)

Ahouse painter and decorator is atradesperson responsible for the painting and decorating of buildings, and is also known as adecorator, orhouse painter. The purpose of painting is to improve the appearance of a building and to protect it from damage by water, corrosion, insects and mould. House painting can also be a form of artistic and/or cultural expression such asNdebele house painting. (Full article...)

Thepaint and sip industry is a set of experience-based businesses that hire professional artists to provide step-by-step instructions to reproduce a pre-selected work of art while they drinkwine or other beverages. When class attendees finish, they get to keep their creations.

These classes typically focus on painting as a fun activity for relieving stress, rather than as a technical skill requiring practice like the classes at anatelier or anart school. Alcohol is used to reduce inhibitions and "overthinking" in order to make the creative process feel easier. (Full article...)

Inpainting,accidentalism is the effect produced by accidental lights. (Full article...)

The idea of founding atheory of painting after the model ofmusic theory was suggested byGoethe in 1807 and gained much regard among theavant-garde artists of the 1920s, theWeimar culture period, likePaul Klee. (Full article...)

TheISCC–NBS System of Color Designation is a system for namingcolors based on a set of 13 basiccolor terms and a small set of adjective modifiers. It was first established in the 1930s by a joint effort of theInter-Society Color Council (ISCC), made up of delegates from various American trade organizations, and theNational Bureau of Standards (NBS), a US government agency. As suggested in 1932 by the first chairman of the ISCC, the system's goal is to be "a means of designating colors in the United States Pharmacopoeia, in the National Formulary, and in general literature ... such designation to be sufficiently standardized as to be acceptable and usable by science, sufficiently broad to be appreciated and used by science, art, and industry, and sufficiently commonplace to be understood, at least in a general way, by the whole public." The system aims to provide a basis on which color definitions in fields from fashion and printing to botany and geology can be systematized and regularized, so that each industry need not invent its own incompatible color system.

In 1939, the system's approach was published in theJournal of Research of the National Bureau of Standards, and the ISCC formally approved the system, which consisted of a set of blocks within thecolor space defined by theMunsell color system as embodied by theMunsell Book of Color. Over the following decades, the ISCC–NBS system's boundaries were tweaked and its relation to various other color standards were defined, including for instance those for plastics, building materials, botany, paint, and soil. (Full article...)

Illusionistic ceiling painting, which includes the techniques of perspectivedi sotto in sù andquadratura, is the tradition inRenaissance,Baroque andRococo art in whichtrompe-l'œil,perspective tools such asforeshortening, and other spatial effects are used to create the illusion ofthree-dimensional space on an otherwisetwo-dimensional or mostly flat ceiling surface above the viewer. It is frequently used to create theillusion of an open sky, such as with theoculus inAndrea Mantegna'sCamera degli Sposi, or the illusion of an architectural space such as thecupola, one ofAndrea Pozzo'sfrescoes inSant'Ignazio, Rome. Illusionistic ceiling painting belongs to the general class ofillusionism inart, designed to create accurate representations ofreality, as well as the general class ofpainted ceilings. (Full article...)

Glue-size is a painting technique in whichpigment isbound (sized) tocloth (usuallylinen) withhide glue, and typically the unvarnished cloth was then fixed to the frame using the same glue. Glue-size is also known asdistemper, though the term "distemper" is applied variously to different techniques. Glue-size was used because hide glue was a popular binding medium in the 15th century, particularly among artists of theEarly Netherlandish period, who used it as an inexpensive alternative tooil.

In German the technique is known asTüchleinfarben, meaning "small cloth colours", orTüchlein, derived from the German word for “handkerchief” (i.e., “small cloth”). (Full article...)

Lacquer painting is a form of painting withlacquer which was practised in East Asia for decoration onlacquerware, and found its way to Europe and the Western World both viaPersia and the Middle East and by direct contact with Continental Asia. The artistic form was revived and developed as a distinct genre of fine art painting by Vietnamese artists in the 1930s; the genre is known in Vietnamese as "sơn mài." (Full article...)

Rose-painting,rosemaling,rosemåling orrosmålning is a Scandinavian decorativefolk painting that flourished from the 1700s to the mid-1800s, particularly in Norway. In Sweden, rose-painting began to be calleddalmålning, c. 1901, for the regionDalecarlia where it had been most popular, andkurbits, in the 1920s, for a characteristic trait, but in Norway the old name still predominates beside terms for local variants. Rose-painting was used to decorate church walls and ceilings. It then spread to wooden items commonly used in daily life, such as ale bowls, stools, chairs, cupboards, boxes, and trunks. Using stylized ornamentation made up of fantasy flowers,scrollwork, fine line work, flowing patterns and sometimes geometric elements give rose-painting its unique feel. Some paintings may include landscapes and architectural elements. Rose-painting also utilizes other decorative painting techniques such as glazing, spattering, marbleizing, manipulating the paint with the fingers or other objects. Regional styles of rose-painting developed, and some varied only slightly from others, while others may be noticeably distinct. (Full article...)

Powder painting, also calledFrit painting, is the art of using ground glass in powdered form to create kilnformedglass art. The process differs fromenameling in many respects. Firstly, the powder is actually ground glass typically from a single manufacturer who supplies an extensive color palette. Large jars can be purchased which are fairly inexpensive compared to enamels, making large scale paintings possible.

This technique is one variation of many ways to create images on glass using glass bits (frits), and in this case powder. (Full article...)

Leaf painting is the process ofpainting with dyed leaves. Deriving fromJapan,China orIndia, it became popular inVietnam. Its two main forms are: Cutting and pasting dry leaf to make leaf paintings or using paint to draw onto the surface of dry leaf to make leaf paintings.

Every product is unique, quite different from the others because of the leaves' veins, the forms, and the colors before or after dying. (Full article...)

Nōtan (濃淡) is a design aesthetic referring to the use of light and shade while also implying a balance or harmony in their respective contrast. Its origins are said to lie in Asian art, best represented by the Taoist symbol of theyin and yang, although the concept itself is unique toart education in the United States and is generally described as an American idea. Nōtan, as it is used this way, refers to the relationship betweenpositive and negative space, and incomposition, the connection between shape and background. This use of dark and light translates shape and form into flat shapes on a two-dimensional surface. Art historianErnest Fenollosa (1853–1908) is credited with introducing nōtan to the United States in the waning years of thefin de siècle. It was subsequently popularized byArthur Wesley Dow in his bookComposition (1899). (Full article...)

Sfumato (English:/sfuːˈmɑːtoʊ/sfoo-MAH-toh,Italian:[sfuˈmaːto];lit. 'smoked off', i.e. 'blurred') is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane. It is one of thecanonical painting modes of the Renaissance.Leonardo da Vinci was the most prominent practitioner of sfumato, based on his research in optics and human vision, and his experimentation with thecamera obscura. He introduced it and implemented it in many of his works, including theVirgin of the Rocks and in his famous painting of theMona Lisa. He described sfumato as "without lines or borders, in the manner of smoke".

According to the theory of the art historianMarcia B. Hall, which has gained considerable acceptance,sfumato is one of four modes of painting colours available to ItalianHigh Renaissance painters, along withcangiante,chiaroscuro, andunione. (Full article...)

Haboku (破墨) andHatsuboku (溌墨) are both painting techniques employed insuiboku (ink-wash painting) in China and Japan, as seen in landscape paintings, involving an abstract simplification of forms and freedom of brushwork. The two terms are often confused with each other in ordinary use. Generally,haboku relies on a layered contrast black, gray and white, whereashatsuboku utilizes "splashes" of ink, without leaving clear contours or outlines. The style apparently started in theTang dynasty China with the painter Wang Qia (王洽, fl. 785–805, also known as Wang Mo), but none of his paintings remains. According to Zhu Jingxuan:

Whenever he wanted to paint a picture, Wang Mo would first drink wine, and when he was sufficiently drunk, would splash the ink onto the painting surface. Then, laughing and singing all the while, he would stamp on it with his feet and smear it with his hands, besides swashing and sweeping it with the brush. The ink would be thin in some places, rich in others; he would follow the shapes which brush and ink had produced, making these into mountains, rocks, clouds and mists, wash in wind and rain, with the suddenness of Creation. It was exactly like the cunning of a deity; when one examined the painting after it was finished he could see no traces of the puddles of ink.

During theSong dynasty, some landscapes ofMu Qi's paintings on the Xiao and Xiang rivers exhibit many of its characteristics, and were highly praised in Japan. It was with Yu Jian (玉澗) in China when we have the first paintings in the style, for exampleEvening Market. In Japan, these styles of painting were spread by the Japanese painterSesshū Tōyō. Later, the Kano school of painting also made many paintings in this style. (Full article...)

Spray painting is apainting technique in which a device sprayscoating material (paint, ink, varnish, etc.) through the air onto a surface. The most common types employ compressed gas—usuallyair—to atomize and direct the paint particles.

Spray guns evolved fromairbrushes, and the two are usually distinguished by their size and the size of the spray pattern they produce. Airbrushes are hand-held and used instead of a brush for detailed work such as photo retouching, painting nails, or fine art. Air gun spraying uses generally larger equipment. It is typically used for covering large surfaces with an even coating of liquid. Spray guns can either be automated or hand-held and have interchangeable heads to allow for different spray patterns. (Full article...)

Microbial art,agar art, orgerm art is artwork created byculturingmicroorganisms in certain patterns. The microbes used can bebacteria,yeast,fungi, or less commonly,protists. The microbes can be chosen for their natural colours orengineered to expressfluorescent proteins and viewed underultraviolet light to make them fluoresce in colour. (Full article...)

Distemper is a decorativepaint and a historical medium for painting pictures, and contrasted withtempera. Thebinder may beglues of vegetable or animal origin (excluding egg). Soft distemper is not abrasion resistant and may include binders such as chalk, ground pigments, and animal glue. Hard distemper is stronger and wear-resistant and can includecasein orlinseed oil as binders. (Full article...)

Buon fresco (Italian for 'true fresh') is afresco painting technique in which alkaline-resistantpigments, ground in water, are applied to wetplaster.

It is distinguished from thefresco-secco (ora secco) andfinto fresco techniques, in which paints are applied to dried plaster. (Full article...)

Alicked finish is the surface of an oil painting that has been smoothed and the brushstrokes blended to such an extent that the evidence of the artist's hand is no longer visible. The technique is strongly identified with Frenchacademic art. It was codified by theFrench Academy in the eighteenth century in order to distinguish 'professional' art from that produced by amateurs.

Jean Auguste Dominique Ingres summed up the academic technique: "The brushstroke, as accomplished as it may be, should not be visible: otherwise, it prevents the illusion, immobilizes everything. Instead of the object represented, it calls attention to the process: instead of the thought, it betrays the hand." (Full article...)

Theorem stencil, sometimes also called theorem painting or velvet painting, is the art of makingstencils and using them to make drawings or paintings on fabric or paper.

A vogue for theorem stencil painting began inEngland at the turn of the 18th century and through the mid-1800s. The art was first taught to women in academies and boarding schools throughout colonialNew England. It continued to be taught into the mid-1800s in many other areas. (Full article...)

Maki-e (蒔絵,literally: sprinkled picture (or design)) is aJapanese lacquer decoration technique in which pictures, patterns, and letters are drawn withlacquer on the surface of lacquerware, and then metal powder such as gold or silver is sprinkled and fixed on the surface of the lacquerware. The origin of the termmaki-e is a compound word ofmaki meaning "sprinkling" ande meaning "picture" or "design". The term can also be used to refer to lacquerware made with this decorative technique. The termmaki-e first appeared in theHeian period.

This technique is the most used technique in Japanese lacquer decoration. Themaki-e is often combined with other techniques such asraden (螺鈿) in which anacreous layer ofmollusk shell lining is embedded or pasted in lacquer,zōgan (象嵌) in which metal or ivory is embedded in lacquer, andchinkin (沈金) in whichgold leaf or gold powder is embedded in a hollow where lacquer has been shaved. (Full article...)

Fresco-secco (ora secco orfresco finto) is awallpainting technique where pigments mixed with an organic binder and/orlime are applied onto dryplaster. The paints used can e.g. becasein paint,tempera,oil paint,silicate mineral paint. If the pigments are mixed with lime water or lime milk and applied to a dry plaster the technique is called lime secco painting.
The secco technique contrasts with thefresco technique, where the painting is executed on a layer of wet plaster.

Because the pigments do not become part of the wall, as inbuon fresco, fresco-secco paintings are less durable. The colors may flake off the painting as time goes by, but this technique has the advantages of a longer working time and retouchability. In Italy, the fresco technique was reintroduced around 1300 and led to an increase in the general quality of mural painting. This technological change coincided with the realistic turn in Western art and the changing liturgical use of murals. (Full article...)

Gongbi (simplified Chinese:工笔;traditional Chinese:工筆;pinyin:gōng bǐ;Wade–Giles:kung-pi) is a carefulrealist technique inChinese painting, the opposite of the interpretive and freely expressivexieyi (寫意 'sketching thoughts') style.

The name is from the Chinesegong jin meaning 'tidy' (meticulous brush craftsmanship). Thegongbi technique uses highly detailed brushstrokes that delimits details very precisely and without independent or expressive variation. It is often highly colored and usually depicts figural or narrative subjects. (Full article...)

Quadro riportato (pluralquadri riportati) is the Italian phrase for "carried picture" or "transported paintings". It is used in art to describe gold-framedeasel paintings or framed paintings that are seen in a normalperspective and painted into afresco. The final effect is similar toillusionism, but the latter encompasses painted statues,reliefs andtapestries.

The ceiling is intended to look as if a framed painting has been placed overhead; there is no illusionisticforeshortening, figures appearing as if they were to be viewed at normal eye level. Mengs'Parnassus (1761) in theVilla Albani (now Villa Albani-Torlonia) is a famous example — aNeoclassical criticism againstBaroque illusionism. Often, however,quadri riportati were combined with illusionistic elements, as inAnnibale Carracci'sFarnese Ceiling (1597–1600) in Rome. (Full article...)

Electrostatic coating is a manufacturing process that employscharged particles to more efficiently paint a workpiece. Paint, in the form of either powdered particles or atomized liquid, is initially projected towards a conductive workpiece using normal spraying methods, and is then accelerated toward the work piece by a powerfulelectrostatic charge.

An addition to the electrostatic coating (or e-coating) process is dipping electrically conductive parts into a tank of paint that is then electrostatically charged. The ionic bond of the paint to the metal creates the paint coating, in which its thickness is directly proportional to the length of time the parts are left in the tank and the time the charge remains active. Once the parts are removed from the paint tank, they are rinsed off to remove any residual paint that is not ionically bonded, leaving a thin film of electrostatically bonded paint on the surface of the part. (Full article...)

In art, craft, and engineering,masking is the use of materials to protect areas from change, or to focus change on other areas. This can describe either the techniques and materials used to control the development of a work of art byprotecting a desired area from change; or a phenomenon that (either intentionally or unintentionally) causes a sensation to beconcealed from conscious attention.

The term is derived from the wordmask, in the sense that it hides the face from view. (Full article...)

Sandpainting is the art of pouring coloured sands, and powdered pigments from minerals or crystals, or pigments from other natural or synthetic sources onto a surface to make a fixed or unfixed sand painting. Unfixed sand paintings have a long established cultural history in numerous social groupings around the globe, and are often temporary, ritual paintings prepared for religious or healing ceremonies. This form of art is also referred to as drypainting.

Drypainting is practised byNative Americans in theSouthwestern United States, byTibetan and Buddhist monks, as well asIndigenous Australians, and also by Latin Americans on certain Christian holy days. (Full article...)

Illusionism inart history means either the tradition of art that appears to share the physical space with the viewer or more broadly the attempt to represent physical appearances precisely – also calledmimesis. The latter can also be calledrealism, but the term can also mean the use of everyday subject-matter, or the avoidance of idealizing subjects. Illusionism encompasses a long history, from the deceptions ofZeuxis and Parrhasius to the works ofmuralistRichard Haas in the twentieth century, that includestrompe-l'œil,anamorphosis,optical art,abstract illusionism, andillusionistic ceiling painting techniques such asdi sotto in sù andquadratura.Sculptural illusionism includes works, often painted, that appear real from a distance. Other forms, such as theillusionistic tradition in the theatre, andSamuel van Hoogstraten's "peepshow"-boxes from the seventeenth century, combine illusionistic techniques and media. (Full article...)

Cobweb painting, sometimes known asgossamer painting, is the delicate process of painting on canvases made from caterpillar andspider webs that have been collected, layered, cleaned, and framed. The fragile works of art on thin, translucent surfaces was practiced primarily in South Tyrol in the 18th and early 19th centuries. Fewer than 100 cobweb paintings are known to exist, many of which are housed in collections. (Full article...)

Polychrome is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors." The term is used to refer to certainstyles of architecture,pottery, or sculpture in multiple colors.

When looking at artworks and architecture fromantiquity and theEuropean Middle Ages, people tend to believe that they were monochrome. In reality, the pre-Renaissance past was full of colour, and Greco-Roman sculptures andGothic cathedrals, that are now white, beige, or grey, were initially painted in a variety of colours. AsAndré Malraux stated: "Athens was never white but her statues, bereft of color, have conditioned the artistic sensibilities of Europe [...] the whole past has reached us colorless." Polychrome was and is a practice not limited only to theWestern world. Non-Western artworks, likeChinese temples,OceanianUli figures, orMaya ceramic vases, were also decorated with colours. (Full article...)