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It is here that we find the basic difference and juxtaposition between his film aesthetics and those of Pasolini and Fellini. Pasolini raises the language of film to that of literature, writing, with its syntax, semiotics, etc. Fellini’s method, where each scene is put together in the same way as a painting is on canvas, was even more unacceptable to Tarkovsky. What will you have if, instead of a figure drawn on canvas by the artist we see a live actor? This is a surrogate painting, a “live picture”.

Saint Sebastian, from the painting by Antonello da Messina

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Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites. His pictures portray mythological, fantastical figures along classical architecture constructions (revealing often an obsession with death) creating a strange, fantasy world. Böcklin is best known for his five versions of Isle of the Dead, which partly evokes the English Cemetery, Florence, close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna, a widow who wanted a painting with a dream-like atmosphere.[1]

Böcklin exercised an influence on Surrealist painters like Max Ernst and Salvador Dalí, and on Giorgio de Chirico.

Francis Bacon (28 October 1909 – 28 April 1992) was an Ireland born British figurative painter. Bacon's artwork is known for its bold, austere, homoerotic and often violent or nightmarish imagery, which typically shows room-bound masculine figures isolated in glass or steel geometrical cages set against flat, nondescript backgrounds.

The history of Chinese art is more consistent, and even more persistent, than the art of Egypt. It is, however, something more than national. It begins about the thirtieth century B.C. and continues, with periods of darkness and uncertainty, right down to the present century. No other country in the world can display such a wealth of artistic activity, and no other country, all things considered, has anything to equal the highest attainments of this art.

Chinese technique is amazingly simple: it involves the knowledge of the use of one brush and one color—but that brush used with such delicacy and that color exploited with such subtlety, that only years of arduous training can produce anything approaching mastery. As is well known, the Chinese normally write with a brush, and a brush is as familiar to them as a pen or pencil is to us. The first fact to realize about Chinese painting is that it is an extension of Chinese handwriting. The whole quality of beauty, for the Chinese, can inhere in a beautifully written character. And if a man can write well, it follows that he can paint well. All Chinese painting of the classical periods is linear, and the lines which constitute its essential form are judged, appreciated and enjoyed, as written lines.

Throughout its history, then, Chinese art conceives nature as animated by an immanent force, and the object of the artists is to put themselves in communion with this force, and then to convey its quality to the spectator.