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).
Painting is an important form in the visual arts, bringing in elements such as drawing, gesture (as in gestural painting), composition, narration (as in narrative art), or abstraction (as in abstract art).[2] Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, narrative, symbolistic (as in Symbolist art), emotive (as in Expressionism), or political in nature (as in Artivism).
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Modernism describes both a set of cultural tendencies and an array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th century and early 20th century. Modernism was a revolt against the conservative values of realism.[26][27] The term encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social and political conditions of an emerging fully industrialized world. A salient characteristic of modernism is self-consciousness. This often led to experiments with form, and work that draws attention to the processes and materials used (and to the further tendency of abstraction).[28]
Rhythm is important in painting as it is in music. If one defines rhythm as "a pause incorporated into a sequence", then there can be rhythm in paintings. These pauses allow creative force to intervene and add new creations—form, melody, coloration. The distribution of form, or any kind of information is of crucial importance in the given work of art, and it directly affects the aesthetic value of that work. This is because the aesthetical value is functionality dependent, i.e. the freedom (of movement) of perception is perceived as beauty. Free flow of energy, in art as well as in other forms of "techne", directly contributes to the aesthetical value.

After 2.4a2 was released, in response to community reaction, Guido stated that he'd re-examine a community proposal, if the community could come up with a community consensus, a decent proposal, and an implementation. After an amazing number of posts, collecting a vast number of alternatives in the Python wiki [18], a community consensus emerged (below). Guido subsequently rejected [22] this alternate form, but added:

The current method for transforming functions and methods (for instance, declaring them as a class or static method) is awkward and can lead to code that is difficult to understand. Ideally, these transformations should be made at the same point in the code where the declaration itself is made. This PEP introduces new syntax for transformations of a function or method declaration.

A figure painting is a work of art in any of the painting media with the primary subject being the human figure, whether clothed or nude. Figure painting may also refer to the activity of creating such a work. The human figure has been one of the contrast subjects of art since the first stone age cave paintings, and has been reinterpreted in various styles throughout history.[38] Some artists well known for figure painting are Peter Paul Rubens, Edgar Degas, and Édouard Manet.

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]
Enamels are made by painting a substrate, typically metal, with powdered glass; minerals called color oxides provide coloration. After firing at a temperature of 750–850 degrees Celsius (1380–1560 degrees Fahrenheit), the result is a fused lamination of glass and metal. Unlike most painted techniques, the surface can be handled and wetted Enamels have traditionally been used for decoration of precious objects,[22] but have also been used for other purposes. Limoges enamel was the leading centre of Renaissance enamel painting, with small religious and mythological scenes in decorated surrounds, on plaques or objects such as salts or caskets. In the 18th century, enamel painting enjoyed a vogue in Europe, especially as a medium for portrait miniatures.[23] In the late 20th century, the technique of porcelain enamel on metal has been used as a durable medium for outdoor murals.[24]
Syntactic constraints. Python is a syntactically simple language with fairly strong constraints on what can and can't be done without "messing things up" (both visually and with regards to the language parser). There's no obvious way to structure this information so that people new to the concept will think, "Oh yeah, I know what you're doing." The best that seems possible is to keep new users from creating a wildly incorrect mental model of what the syntax means.

Abstract painting uses a visual language of form, colour and line to create a composition that may exist with a degree of independence from visual references in the world.[29][30] Abstract expressionism was an American post-World War II art movement that combined the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools—such as Futurism, Bauhaus and Cubism, and the image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[31]

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.