Classic painting, meant literally, is the practice of applying color to a surface (support) such as paper, canvas, wood, glass, lacquer, or other. However, when used in an artistic sense, the term "painting" means the use of this activity in combination with drawing, composition and other aesthetic considerations in order to manifest the expressive and conceptual intention of the practitioner.
Classic painting is used as a mode of representing, documenting and expressing all the varied intents and subjects that are as numerous as there are practitioners of the craft. Classic paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature. A large portion of the history of painting is dominated by spiritual motifs and ideas; sites of this kind of classic painting range from artwork depicting mythological figures on pottery to biblical scenes rendered on the interior walls and ceiling of The Sistine Chapel to depictions of the human body it self as a spiritual subject.
What enables classic painting is the perception and representation of intensity. Every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity; by using just color (of the same intensity) one can only represent symbolic shapes. Thus, the basic means of classic painting are distinct from ideological means, such as geometrical figures, various points of view and organization (perspective), and symbols. For example, a painter perceives that a particular white wall has different intensity at each point, due to shades and reflections from nearby objects, but ideally, a white wall is still a white wall in pitch darkness. In technical drawing, thickness of line is also ideal, this kind of drawing gives ideal outlines of an object with in a perceptual frame different from the one used by painters.
Color and tone are the essence of classic painting as pitch and rhythm are of music. Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but elsewhere white may be. Some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, Newton, have written their own color theory. Moreover the use of language is only a generalisation for a color equivalent. The word "red", for example, can cover a wide range of variations on the pure red of the visible spectrum of light. There is not a formalized register of different colors in the way that there is agreement on different notes in music, such as C or C# in music, although the Pantone system is widely used in the commercial printing and graphic design industry for this purpose.
For a painter, color is not simply divided into basic and derived (complementary or mixed) colors (like, red, blue, green, brown, etc.). Painters deal practically with pigments, so "blue" for a painter can be any of the blues: phtalocyan, Paris blue, indigo, cobalt, ultramarine, and so on. Psychological, symbolical meanings of color are not strictly speaking means of classic painting. Colors only add to the potential, derived context of meanings, and because of this the perception of a classic painting is highly subjective. The analogy with music is quite clear - tones in music (like "C") are analogous to "shades" in classic painting, and coloration in classic painting is the same as the specific color of certain instrument - these do not form a melody, but can add different contexts to it.Classic painting have a many natural colour with category and kind painting of a album. Same time colours have a mean from the painting in canvas.
Classic painting is used as a mode of representing, documenting and expressing all the varied intents and subjects that are as numerous as there are practitioners of the craft. Classic paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature. A large portion of the history of painting is dominated by spiritual motifs and ideas; sites of this kind of classic painting range from artwork depicting mythological figures on pottery to biblical scenes rendered on the interior walls and ceiling of The Sistine Chapel to depictions of the human body it self as a spiritual subject.
What enables classic painting is the perception and representation of intensity. Every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity; by using just color (of the same intensity) one can only represent symbolic shapes. Thus, the basic means of classic painting are distinct from ideological means, such as geometrical figures, various points of view and organization (perspective), and symbols. For example, a painter perceives that a particular white wall has different intensity at each point, due to shades and reflections from nearby objects, but ideally, a white wall is still a white wall in pitch darkness. In technical drawing, thickness of line is also ideal, this kind of drawing gives ideal outlines of an object with in a perceptual frame different from the one used by painters.
Color and tone are the essence of classic painting as pitch and rhythm are of music. Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but elsewhere white may be. Some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, Newton, have written their own color theory. Moreover the use of language is only a generalisation for a color equivalent. The word "red", for example, can cover a wide range of variations on the pure red of the visible spectrum of light. There is not a formalized register of different colors in the way that there is agreement on different notes in music, such as C or C# in music, although the Pantone system is widely used in the commercial printing and graphic design industry for this purpose.
For a painter, color is not simply divided into basic and derived (complementary or mixed) colors (like, red, blue, green, brown, etc.). Painters deal practically with pigments, so "blue" for a painter can be any of the blues: phtalocyan, Paris blue, indigo, cobalt, ultramarine, and so on. Psychological, symbolical meanings of color are not strictly speaking means of classic painting. Colors only add to the potential, derived context of meanings, and because of this the perception of a classic painting is highly subjective. The analogy with music is quite clear - tones in music (like "C") are analogous to "shades" in classic painting, and coloration in classic painting is the same as the specific color of certain instrument - these do not form a melody, but can add different contexts to it.Classic painting have a many natural colour with category and kind painting of a album. Same time colours have a mean from the painting in canvas.
