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history painting

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history painting

Painting genre depicting scenes taken from classical sources, mythology, the Bible, and literary classics, such as Dante's Divine Comedy. From the early Renaissance, when Alberti first documented the style, until the decline of the academic tradition in the 19th century, history painting was regarded as the highest form of painting, its purpose being to express noble themes and sentiments. Examples include David's The Oath of the Horatii (1784; Louvre, Paris), and Benjamin West's The Death of General Wolfe (1770; National Gallery of Canada, Ottawa), one of the first to depict a scene from contemporary history.

In the 15th century Alberti described history paintings, or istoria, as those that included more than one figure, but by the 17th century the term had come to mean paintings of scenes from the past, and those inspired by mythology, poetry, and religion. In the 18th century Reynolds stated that ‘a history painter paints man in general: a portrait painter, a particular man, and consequently a defective model’.



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Like other German painters late in the cold war (Markus Lupertz, Georg Baselitz, and, later, Werner Buttner and Albert Oehlen), Immendorff was drawn to history painting, which was decried at the time as hopelessly regressive.
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.
The density and opacity of Marshall's history paintings and installations are brilliantly deconstructed by Terrie Sultan in her essay "This Is the Way We Live.
 
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