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In modern English, "historical painting" is sometimes used to describe the painting of scenes from history in its narrower sense, especially for 19th-century art, excluding religious, mythological, and allegorical subjects, which are included in the broader term "history painting", and before the 19th century were the most common subjects for history paintings.
History paintings almost always contain a number of figures, often a large number, and normally show some typical states on that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the ''[[Life of Christ in art|Life of Christ]]'', Middle eastern culture as well as narrative scenes from [[mythology]], and also [[allegorical]] scenes.<ref>[http://www.nationalgallery.org.uk/paintings/glossary/history-painting National Gallery, Glossary entry]; [http://www.nga.gov/collection/gallery/gg61/gg61-main1.html History Painting Gallery] {{Webarchive|url=https://web.archive.org/web/20160830163808/http://www.nga.gov/collection/gallery/gg61/gg61-main1.html |date=2016-08-30 }} from The National Gallery of Art in Washington, DC; Green and Seddon, 7-8; Harrison, 105-106</ref> These groups were for long the most frequently painted; works such as [[Michelangelo]]'s [[Sistine Chapel ceiling]] are therefore history paintings, as are most very large paintings before the 19th century. The term covers large paintings in [[oil on canvas]] or [[fresco]] produced between the Renaissance and the late 19th century, after which the term is generally not used even for the many works that still meet the basic definition.<ref>Green and Seddon, 11-15</ref>
History painting may be used interchangeably with '''historical painting''', and was especially so used before the 20th century.<ref>{{cite web|title=History painting|url=http://www.thefreedictionary.com/History+painting|work=Webster's Revised Unabridged Dictionary|publisher=The Free Dictionary}}</ref> Where a distinction is made, "historical painting" is the painting of scenes from secular history, whether specific episodes or generalized scenes. In the 19th century, historical painting in this sense became a distinct genre. In phrases such as "historical painting materials", "historical" means in use before about 1900, or some earlier date.<ref>{{Cite web |last=lobo |date=2020-07-02 |title=The History of Painting. The evolution of Art |url=https://lobopopart.com.br/en/the-history-of-painting/ |access-date=2023-06-08 |website=Lobo Pop Art |language=en-US}}</ref>
==Prestige==
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The unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, [[Benjamin West]] proposed to paint ''[[The Death of General Wolfe]]'' in contemporary dress, he was firmly instructed to use classical costume by many people. He ignored these comments and showed the scene in modern dress. Although [[George III]] refused to purchase the work, West succeeded both in overcoming his critics' objections and inaugurating a more historically accurate style in such paintings.<ref>Rothenstein, 16–17; Strong, 24–26</ref> Other artists depicted scenes, regardless of when they occurred, in classical dress and for a long time, especially during the [[French Revolution]], history painting often focused on depictions of the heroic male nude.
The large production, using the finest French artists, of propaganda paintings glorifying the exploits of [[Napoleon]], were matched by works, showing both victories and losses, from the anti-Napoleonic alliance by artists such as [[Goya]] and [[J. M. W. Turner]]. [[Théodore Géricault]]'s ''[[The Raft of the Medusa]]'' (1818–1819) was a sensation, appearing to update the history painting for the 19th century, and showing anonymous figures famous only for being victims of what was then a famous and controversial disaster at sea. Conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts. At the same time the demand for traditional large religious history paintings very largely fell away.
[[File:David Wilkie Chelsea Pensioners Reading the Waterloo Dispatch.jpg|thumb|300px|[[David Wilkie (artist)|Sir David Wilkie]], ''[[The Chelsea Pensioners reading the Waterloo Dispatch]]'', 1822. Genre or history painting? The types have merged, in a way typical of the 19th century.]]
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[[Romanticism|Romantic artists]] such as Géricault and Delacroix, and those from other movements such as the English [[Pre-Raphaelite Brotherhood]] continued to regard history painting as the ideal for their most ambitious works. Others such as [[Jan Matejko]] in Poland,<ref>(In Polish) [[Maciej Masłowski]]: Dzieje Polski w obrazach, [[Warszawa]] [[1962]], ed. by "[[Wydawnictwo Arkady|Arkady]] [[Publishing|Publishers]]"</ref> [[Vasily Surikov]] in Russia, [[José Moreno Carbonero]] in Spain and [[Paul Delaroche]] in France became specialized painters of large historical subjects. The ''[[style troubadour]]'' ("[[troubadour]] style") was a somewhat derisive French term for earlier paintings of medieval and Renaissance scenes, which were often small and depicting moments of anecdote rather than drama; [[Jean-Auguste-Dominique Ingres|Ingres]], [[Richard Parkes Bonington]] and [[Henri Jean-Baptiste Victoire Fradelle|Henri Fradelle]] painted such works. Sir [[Roy Strong]] calls this type of work the "Intimate Romantic", and in French it was known as the "peinture de genre historique" or "peinture anecdotique" ("historical genre painting" or "anecdotal painting").<ref>Strong, 36-40; Wright, 269-273, French terms on p. 269</ref>
Church commissions for large group scenes from the Bible had greatly reduced, and historical painting became very significant. Especially in the early 19th century, much historical painting depicted specific moments from historical literature, with the novels of Sir [[Walter Scott]] a particular favourite, in France and other European countries as much as Great Britain.<ref>Wright, throughout; Strong, 30-32</ref> By the middle of the century medieval scenes were expected to be very carefully researched, using the work of historians of costume, architecture and all elements of decor that were becoming available. And example of this is the extensive research of Byzantine architecture, clothing and decoration made in Parisian museums and libraries by [[José Moreno Carbonero|Moreno Carbonero]] for his masterwork ''The Entry of Roger de Flor in Constantinople''.<ref>{{Cite web|url=https://www.artehistoria.com/es/obra/entrada-de-roger-de-flor-en-constantinopla|title=Entrada de Roger de Flor en Constantinopla {{!}} artehistoria.com|website=www.artehistoria.com|language=es|access-date=2018-11-16|archive-date=2018-11-16|archive-url=https://web.archive.org/web/20181116173823/https://www.artehistoria.com/es/obra/entrada-de-roger-de-flor-en-constantinopla|url-status=dead}}</ref> The provision of examples and expertise for artists, as well as revivalist industrial designers, was one of the motivations for the establishment of museums like the [[Victoria and Albert Museum]] in London.<ref>Strong, 24-26, 47-73; Wright, 269-273</ref>
New techniques of [[printmaking]] such as the [[chromolithograph]] made good quality reproductions both relatively cheap and very widely accessible, and also hugely profitable for artist and publisher, as the sales were so large.<ref>Harding, 7-9</ref> Historical painting often had a close relationship with [[Nationalism]], and painters like Matejko in Poland could play an important role in fixing the prevailing historical narrative of national history in the popular mind.<ref>Strong, 32-36</ref> In France, ''[[L'art Pompier]]'' ("Fireman art") was a derisory term for official academic historical painting,<ref>Harding, throughout</ref> and in a final phase, "History painting of a debased sort, scenes of brutality and terror, purporting to illustrate episodes from Roman and Moorish history, were Salon sensations. On the overcrowded walls of the exhibition galleries, the paintings that shouted loudest got the attention".<ref>White, 91</ref> [[Orientalism|Orientalist]] painting was an alternative genre that offered similar exotic costumes and decor, and at least as much opportunity to depict sex and violence.
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File:Charles Le Brun - Entry of Alexander into Babylon.JPG|[[Charles Le Brun]], 1664, ''Entry of Alexander into Babylon'', [[Louvre]], Paris
File:Sebastiano Ricci 057b.jpg|Sebastiano Ricci, ''Allegory of France as Minerva Trampling Ignorance and Crowning Virtue'', 1717–18
File:David - The Death of Socrates.jpg|[[Jacques-Louis David]], 1787, ''[[The Death of Socrates]]'', {{lang|fr|[[École Nationale Supérieure des Beaux-Arts]]|italic=no}}, Paris
File:Vincenzo Camuccini - La morte di Cesare.jpg|[[Vincenzo Camuccini]], ''[[Assassination of Julius Caesar]]'', 1805
File:Jacques-Louis David 006.jpg|[[Jacques-Louis David]], ''[[The Coronation of Napoleon]]'', {{Circa|1807}}
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File:Delacroix sardanapalus 1828 950px.jpg|[[Eugène Delacroix]], 1827, ''[[Death of Sardanapalus]]'', Louvre, Paris
File:Karl Brullov - The Last Day of Pompeii - Google Art Project.jpg|[[Karl Bryullov]], ''[[The Last Day of Pompeii]]'', 1827–1833
File:Eugène Delacroix - Le 28 Juillet. La Liberté guidant le peuple.jpg|[[Eugène Delacroix]], ''[[Liberty Leading the People]]'', 1830, Louvre, Paris
File:Patrick Henry Rothermel.jpg|''Patrick Henry Before the Virginia House of Burgesses'', 1851, [[Red Hill Patrick Henry National Memorial]], [[Brookneal, Virginia|Brookneal]]
File:Washington Crossing the Delaware by Emanuel Leutze, MMA-NYC, 1851.jpg|[[Emanuel Leutze]], ''[[Washington Crossing the Delaware (1851 painting)|Washington Crossing the Delaware]]'', 1851, [[Metropolitan Museum of Art]], New York
File:John Everett Millais - Christ in the House of His Parents (`The Carpenter's Shop') - Google Art Project.jpg|[[John Everett Millais]], ''[[Christ
File:William Holman Hunt - The Finding of the Saviour in the Temple.jpg|[[William Holman Hunt]], ''[[The Finding of the Saviour in the Temple]]'', 1854–1860, [[Birmingham Museum & Art Gallery]], [[Birmingham]]
File:Adolph Menzel - Flötenkonzert Friedrichs des Großen in Sanssouci - Google Art Project.jpg|[[Adolph Menzel]], ''Flute concerto of [[Fredrick the Great]]'', {{Circa|1852}}
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File:Wernerprokla.jpg|[[Anton von Werner]], ''[[Proclamation of the German Empire (paintings)|Proclamation of the German Empire]]'', 1885
File:Ilja Jefimowitsch Repin 009.jpg|[[Ilya Repin]], ''[[Reply of the Zaporozhian Cossacks]]'', 1880–1891, [[State Russian Museum]], St. Petersburg
File:Surikov streltsi.jpg|[[Vasily Surikov]], ''[[:ru:Утро стрелецкой казни|Morning of Streltsy's
File:Jan Matejko - The Maid of Orleans - MNK II-a-383 - National Museum Kraków.jpg|[[Jan Matejko]], ''The Maid of Orléans'', 1886, [[National Museum, Poznań]]
File:Entrada de Roger de Flor en Constantinopla (Palacio del Senado de España).jpg|[[José Moreno Carbonero]], 1888, ''The Entry of Roger de Flor in Constantinople'', [[Senate of Spain|Senate Palace]], [[Madrid]]
File:The Welcome by the Mayor of Rotterdam of William IV, Prince of Orange and his Consort Anna of Great Britain, 1734.jpg|Jacob Spoel, 1867, ''The Welcome by the Mayors of [[Rotterdam]] of [[William IV, Prince of Orange]] and his Consort [[Anne, Princess Royal and Princess of Orange|Anne of Great Britain]]
The Battle of Culloden.jpg|[[David Morier]], ''[[An Incident in the Rebellion of 1745]],'' 1746, [[Palace of Holyroodhouse]]
</gallery>
==See also==
* [[Classicism]]
* [[
* [[History of painting]]
* [[List of Orientalist artists]]
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