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To learn how to paint, most students had to join a studio/'atelier of an established painter.
Not until 1863 did oil painting become part of the curriculum of the French Academy the Ecole des Beaux-Arts.
Traditional painters do this by deploying the concept of linear perspective, as developed during the Florentine Renaissance by Piero della Francesca and others (see also the illusionistic techniques of quadratura and foreshortening), while Cubists like Picasso, Braque, Duchamp and Juan Gris, expressed space and volume by showing a range of overlapping "snapshots" of the same object as if viewed simultaneously from different viewpoints.
Still others, like naive (naif) or primitive-style painters show objects not in their true-life naturalistic relationship to each other, but separately, from whatever angle best shows their characteristic features - this includes the flattened stylistic forms used, for instance, by the Egyptians.(5) The elements of Time and Movement concern how the viewer's eye is allowed to experience the picture, in terms of speed and direction, both for its narrative development (eg.
The plaster absorbs the liquid paint and as it dries, retaining the pigments in the wall.And as art critics and historians can testify, there are countless conflicting theories about the function, design, style-hierarchy and aesthetics of painting, so perhaps the safest thing is to say that as "visual artists", painters are engaged in the task of creating two-dimensional works of visual expression, in whatever manner appeals to them.During the Renaissance, the art of painting, (colorito in Italian) was considered secondary to the art of drawing (disegno): for example, fine arts classes at the Academies were devoted to draftsmanship and rarely dealt with the use of colour pigment.In addition to creating a visual object, an artist also aims to infuse it with a degree of intellectual content, in the form of symbolism, a moral or social message, or some other meaningful content.Thus, the famous American critic Clement Greenberg (1909-94) once stated that all great art should aim to create tension between visual appeal and interpretive possibility.