The culture and pathos of a particular period in painting usually have been reflected in many of its other visual arts. The ideas and aspirations of the ancient cultures, of the Renaissance, Baroque, Rococo, and Neoclassical periods of Western art and, more recently, of the 19th-century Art Nouveau and Secessionist movements were shown in much of the architecture, interior design, furniture, textiles, ceramics, costume, and handicrafts, as well as in the fine arts, of their times. Following the Industrial Revolution, with the reduced requirement of hand-craftmanship and the loss of direct expression between the fine artist and larger society, general society, idealistic efforts to unite the arts and crafts in service to the community were made by William Morris in Victorian England and by the Bauhaus in 20th-century Germany. Although their aims were not fully realized, their influences, like those of the short-lived de Stijl and Constructivist movements, have been immeasurable, particularly in architectural, furniture, and typographic design.
Michelangelo and Leonardo da Vinci were both painters, sculptors, and architects. Although no artists since have excelled in such a wide range of creativity, leading 20th-century painters expressed their art in many other mediums. In graphic design, for example, Pierre Bonnard, Henri Matisse, and Raoul Dufy printed posters and illustrated books; Andre Derain, Fernand Leger, Marc Chagall, Mikhail Larionov, Robert Rauschenberg, and David Hockney designed for the stage; Joan Miro, Georges Braque, and Chagall worked in ceramics; Braque and Salvador Dali designed jewelry; and Dali, Hans Richter, and Andy Warhol made films. Many of these, with other modern painters, have also been sculptors and printmakers and have designed for textiles, tapestries, mosaics, and stained glass, while there are few mediums of the visual arts that Pablo Picasso did not work in and revitalize.
In turn, painters have been inspired by the imagery, techniques, and design of other visual arts. One of the earliest of these influences was possibly from the theatre, where the ancient Greeks are thought to have been the first to use the illusions of optical perspective. The teaching or reappraisal of design techniques and imagery in the art-forms and processes of other cultures has been an important stimulus to the development of more modern styles of Western painting, whether or not their traditional significance have been appreciated. The influence of Japanese woodcut prints on Synthetism and the Nabis, for example, and of African sculpture on Cubism, and the German Expressionists helping to create visual vocabularies and syntax with which to express new inspirations and ideas. The development of photography and film introduced painters to new aspects of nature, while eventually prompting others to abandon representational painting altogether. Painters of everyday life, such as Edgar Degas, Henri de Toulouse-Lautrec, edouard Vuillard, and Bonnard, applied the design tricks of camera cutoffs, close-ups, and unconventional viewpoints so as to give the spectator the feeling of sharing an intimate picture space with the figures and forms in the painting.
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