history painting

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history painting,

the painting of scenes from classical and Christian history and mythology. It was taught in the academies of artacademies of art,
official organizations of established artists. Lorenzo de' Medici's informal circle of great artists and thinkers was modeled on similar groups formed in classical Greece.
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, from the Renaissance to the 19th cent., as the highest form of art in an hierarchical grouping that ranked still-life painting lowest on the list. Included in the category were scenes from contemporary history, such as Velázquez's Surrender at Breda, and commemorative works and apotheoses, such as Rubens's Life of Marie de' Medici. Scenes from antiquity dominated 18th-century painting, and modern subjects were exalted by treating them in classical terms. A modern work cited as falling within the history-painting tradition is Picasso's Guernica.
References in periodicals archive ?
As a result, confusion reigned between history painting in the grand style and large sensationalist canvases.
In 1816, the British Institution, an organisation run by aristocratic connoisseurs and collectors, resolved to reinvigorate British history painting by launching a competition with a 1,000 guinea prize for large-scale pictures 'illustrative of our recent successes' at Waterloo and earlier in the Napoleonic Wars.
In other essays, however, she observes that traditional conventions of visual culture, particularly those of history painting and religious iconography, served Free State painters well as they shed earlier stereotypes to create imagery grounded in the revolutionary violence and heroics leading to nationhood.
Nevertheless, Laurens gave the Salon community--and Lefebvre--a model of a Salon painter re-imagining academic art and the genre of history painting.
Here, again, Saul makes use of large fields of deep red, as if alluding to Delacroix's craziest history painting, Death of Sardanapalis (1827), which, like these Sauls, shows how destructive and stupid are those actors we call heroes.
Boydell was trying to instill the values of history painting, with its strong geometrical form, its condensation of energy and importance in towering figures set against epic backdrops.
In her meticulous study, the first fully devoted to the half-figure history painting of the Seicento, Sandra Gianfreda examines a wide range of issues and sources to explain the significance of this popular picture type.
His range is extraordinary: He tried his hand at everything from history painting to elegant conversation pieces and portraits, usually with success.
In the later eighteenth century, as he observes, the highest artistic mode was considered to be history painting but the number of portraits exhibited at the Royal Academy exceeded the history paintings by far.
Each of their portraits is treated in the manner of a history painting, as much by size, composition, attitude of the sitter, and the inclusion of accessories that refer to the life or the moral qualities of the sitter.
In rejecting the conservative subject matter of the traditionalist, formally trained painters of the day, the two artists made landscape the subject of their work rather than background for a history painting or religious allegory.

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