mural summary

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Below is the article summary. For the full article, see mural.

mural, Painting applied to and made integral with the surface of a wall or ceiling. Its roots can be found in the universal desire that led prehistoric peoples to create cave paintings—the desire to decorate their surroundings and express their ideas and beliefs. The Romans produced large numbers of murals in Pompeii and Ostia, but mural painting (not synonymous with fresco) reached its highest degree of creative achievement in Europe with the work of such Renaissance masters as Masaccio, Fra Angelico, Leonardo da Vinci, Michelangelo, and Raphael. In the 20th century, the mural was embraced by artists of the Cubist and Fauve movements in Paris, revolutionary painters in Mexico (e.g., Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros), and Depression-era artists under the sponsorship of the U.S. government (e.g., Ben Shahn, Thomas Hart Benton).

Masolino Summary

Masolino was a painter who achieved a compromise between the International Gothic manner and the advanced early Renaissance style of his own day. He owes his prominence in the history of Florentine art not to his innovations but to his lyrical style and his unfailing artistry. Masolino came from

Parmigianino Summary

Parmigianino was an Italian painter who was one of the first artists to develop the elegant and sophisticated version of Mannerist style that became a formative influence on the post-High Renaissance generation. There is no doubt that Correggio was the strongest single influence on Parmigianino’s

Paolo Uccello Summary

Paolo Uccello Florentine painter whose work attempted uniquely to reconcile two distinct artistic styles—the essentially decorative late Gothic and the new heroic style of the early Renaissance. Probably his most famous paintings are three panels representing the Battle of San Romano (c. 1456). His

Perugino Summary

Perugino was an Italian Renaissance painter of the Umbria school and the teacher of Raphael. His work (e.g., Christ Giving the Keys to St. Peter, 1481–82, a fresco in the Sistine Chapel in Rome) anticipated High Renaissance ideals in its compositional clarity, sense of spaciousness, and economy of