In general, functions in Python may also have side effects rather than just turning an input into an output. The print() function is a basic example of this: it returns None while having the side effect of outputting something to the console. However, to understand decorators, it is enough to think about functions as something that turns given arguments into a value.

In object-oriented programming, the decorator pattern is a design pattern that allows behavior to be added to an individual object, dynamically, without affecting the behavior of other objects from the same class.[1] The decorator pattern is often useful for adhering to the Single Responsibility Principle, as it allows functionality to be divided between classes with unique areas of concern.[2] The decorator pattern is structurally nearly identical to the chain of responsibility pattern, the difference being that in a chain of responsibility, exactly one of the classes handles the request, while for the decorator, all classes handle the request.
With the introduction of Classes in TypeScript and ES6, there now exist certain scenarios that require additional features to support annotating or modifying classes and class members. Decorators provide a way to add both annotations and a meta-programming syntax for class declarations and members. Decorators are a stage 2 proposal for JavaScript and are available as an experimental feature of TypeScript.

Now we have our logit decorator in production, but when some parts of our application are considered critical, failure might be something that needs more immediate attention. Let’s say sometimes you want to just log to a file. Other times you want an email sent, so the problem is brought to your attention, and still keep a log for your own records. This is a case for using inheritence, but so far we’ve only seen functions being used to build decorators.


Landscape painting is a term that covers the depiction of natural scenery such as mountains, valleys, trees, rivers, and forests, and especially art where the main subject is a wide view, with its elements arranged into a coherent composition. In other works landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases.
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Historically, the painter was responsible for the mixing of the paint; keeping a ready supply of pigments, oils, thinners and driers. The painter would use his experience to determine a suitable mixture depending on the nature of the job. In modern times, the painter is primarily responsible for preparation of the surface to be painted, such as patching holes in drywall, using masking tape and other protection on surfaces not to be painted, applying the paint and then cleaning up.[2]

This difference becomes most important when there are several independent ways of extending functionality. In some object-oriented programming languages, classes cannot be created at runtime, and it is typically not possible to predict, at design time, what combinations of extensions will be needed. This would mean that a new class would have to be made for every possible combination. By contrast, decorators are objects, created at runtime, and can be combined on a per-use basis. The I/O Streams implementations of both Java and the .NET Framework incorporate the decorator pattern.

Modern and Contemporary Art has moved away from the historic value of craft and documentation in favour of concept, leading some to say, in the 1960s, that painting as a serious art form is dead.[clarification needed] This has not deterred the majority of living painters from continuing to practice painting either as whole or part of their work. The vitality and versatility of painting in the 21st century defies the previous "declarations" of its demise. In an epoch characterized by the idea of pluralism, there is no consensus as to a representative style of the age. Artists continue to make important works of art in a wide variety of styles and aesthetic temperaments—their merits are left to the public and the marketplace to judge.
Aesthetics is the study of art and beauty; it was an important issue for 18th- and 19th-century philosophers such as Kant and Hegel. Classical philosophers like Plato and Aristotle also theorized about art and painting in particular. Plato disregarded painters (as well as sculptors) in his philosophical system; he maintained that painting cannot depict the truth—it is a copy of reality (a shadow of the world of ideas) and is nothing but a craft, similar to shoemaking or iron casting.[9] By the time of Leonardo, painting had become a closer representation of the truth than painting was in Ancient Greece. Leonardo da Vinci, on the contrary, said that "Italian: La Pittura è cosa mentale" ("English: painting is a thing of the mind").[10] Kant distinguished between Beauty and the Sublime, in terms that clearly gave priority to the former.[citation needed] Although he did not refer to painting in particular, this concept was taken up by painters such as J.M.W. Turner and Caspar David Friedrich.
A veduta is a highly detailed, usually large-scale painting of a cityscape or some other vista. This genre of landscape originated in Flanders, where artists such as Paul Bril painted vedute as early as the 16th century. As the itinerary of the Grand Tour became somewhat standardized, vedute of familiar scenes like the Roman Forum or the Grand Canal recalled early ventures to the Continent for aristocratic Englishmen. In the later 19th century, more personal impressions of cityscapes replaced the desire for topographical accuracy, which was satisfied instead by painted panoramas.
Action painting, sometimes called gestural abstraction, is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.[32] The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms "action painting" and "abstract expressionism" interchangeably).
In England, little is known of the trade and its structures before the late 13th century, at which paint guilds began to form, amongst them the Painters Company and the Stainers Company. These two guilds eventually merged with the consent of the Lord Mayor of the City of London in 1502, forming the Worshipful Company of Painter-Stainers. The guild standardised the craft and acted as a protector of the trade secrets. In 1599, the guild asked Parliament for protection, which was eventually granted in a bill of 1606, which granted the trade protection from outside competition such as plasterers.[2]
The invention of photography had a major impact on painting. In the decades after the first photograph was produced in 1829, photographic processes improved and became more widely practiced, depriving painting of much of its historic purpose to provide an accurate record of the observable world. A series of art movements in the late 19th and early 20th centuries—notably Impressionism, Post-Impressionism, Fauvism, Expressionism, Cubism, and Dadaism—challenged the Renaissance view of the world. Eastern and African painting, however, continued a long history of stylization and did not undergo an equivalent transformation at the same time.[citation needed]
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