Monumental painting is a type of monumental art associated with architecture. In other words, it is painting on stationary (architectural) structures. This is the oldest art form known since the Paleolithic, which is durable due to its specificity.
From the history of monumental painting
The first works of monumental painting can be considered the paintings in the caves of Lascaux, Altamir and others. It was widely used in burial and temple complexes of Ancient Egypt, as well as in the Cretan-Mycenaean architecture that has practically not come down to us.
Since early antiquity, monumental painting has become the main decorative element in the decoration of stone, concrete and brick structures. Frescoes and mosaics were widely used in the temple architecture of Byzantium and due to this they had a great influence on the monumental art of Ancient Rus.
Modern masters of monumental painting boldly combine painting with sculptural forms, use new artistic materials - synthetic paints, ceramic relief mosaics.
In the art of the Middle Ages, stained glass technique was greatly developed. The great masters of the Renaissance created many frescoes, grandiose in design and embodiment. Today, artists are actively exploring new techniques and materials for creating frescoes and mosaics.
Distinctive features of monumental painting
The monumental painting includes stained glass windows, frescoes, mosaic decoration of buildings. Synthesizing with architecture, works of monumental art are often an important semantic dominant of the ensemble.
Decorating walls, facades, ceilings gives the monumental painting architectural and ornamental qualities that are close to decorative art. Therefore, it is often called decorative and monumental art.
According to the figurative and thematic content, it is customary to distinguish between monumental and decorative paintings and works that have features of monumentality. Both directions stem from the peculiarities of this type of painting - synthetics and direct connection with architectural objects.
Typically, pictorial compositions placed on facades and interiors embody the most general philosophical and social ideas of the time. This dictates the majesty of the forms. Works that have the features of monumentality are characterized by socially significant content. Thus, the founder of the Mexican school of monumental painting, Siqueiros, reflected the most acute political events in his paintings of the National Preparatory School, the Palace of Fine Arts, and the National Museum of History.
The works of another founder of the Mexican school of monumental painting - Diego Rivera - are frankly publicistic and historical and cognitive. He used monumental painting as a means of propaganda, agitation and education.
