Integrated Master's in Europe

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Lublin, Poland

Painting

Malarstwo

Integrated Master's degree
Language: PolishStudies in Polish
Subject area: arts
Kind of studies: full-time studies
University website: www.umcs.pl/en
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Painting
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (support base). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used.
Painting
Pictures must not be too picturesque.
Ralph Waldo Emerson, Essays, Of Art. In Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 576-77.
Painting
A portrait miniature is a miniature portrait painting, usually executed in gouache, water colour, or enamel. Portrait miniatures developed out of the techniques of the miniatures in illuminated manuscripts, and were popular among 16th-century elites, mainly in England and France, and spread across the rest of Europe from the middle of the 18th-century, remaining highly popular until the development of daguerreo types and photography in the mid-19th century. They were especially valuable in introducing people to each other over distances; a nobleman proposing the marriage of his daughter might send a courier with her portrait to visit potential suitors. Soldiers and sailors might carry miniatures of their loved ones while traveling, or a wife might keep one of her husband while he was away. The first miniaturists used water colour to paint on stretched vellum. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, especially in France. In the 18th century, miniatures were painted with water colour on ivory, which had now become relatively cheap. As small in size as 40 mm × 30 mm, portrait miniatures were often used as personal w:Mementosmementos or as jewellery or snuff box covers.
George C. Williamson in: "The Work of Alyn Williams, P.R.M.S. (President of the Royal Society of Miniature Painters)" Pamphlet – January 1, 1920
Painting
Painting responded to the plague-darkened vision of the human condition provoked by repeated exposure to sudden, inexplicable death. Tuscan painters reacted against Giotto's serenity, preferring sterner, hieratic portrayals of religious scenes and figures. The "Dance of Death" became a common theme for art; and several other macabre motifs entered the European repertory.
William Hardy McNeill, Plagues and Peoples, Ch.4 (1976).
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