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Available in 7 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-7" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">7 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Jerarquia_de_g%C3%A8neres" title="Jerarquia de gèneres – Catalan" lang="ca" hreflang="ca" data-title="Jerarquia de gèneres" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Hi%C3%A9rarchie_des_genres" title="Hiérarchie des genres – French" lang="fr" hreflang="fr" data-title="Hiérarchie des genres" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Xerarqu%C3%ADa_dos_x%C3%A9neros" title="Xerarquía dos xéneros – Galician" lang="gl" hreflang="gl" data-title="Xerarquía dos xéneros" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Gerarchia_dei_generi" title="Gerarchia dei generi – Italian" lang="it" hreflang="it" data-title="Gerarchia dei generi" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Hierarquia_dos_g%C3%AAneros" title="Hierarquia dos gêneros – Portuguese" lang="pt" hreflang="pt" data-title="Hierarquia dos gêneros" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%98%D0%B5%D1%80%D0%B0%D1%80%D1%85%D0%B8%D1%8F_%D0%B6%D0%B0%D0%BD%D1%80%D0%BE%D0%B2" title="Иерархия жанров – Russian" lang="ru" hreflang="ru" data-title="Иерархия жанров" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%A5%E0%B8%B3%E0%B8%94%E0%B8%B1%E0%B8%9A%E0%B8%84%E0%B8%B8%E0%B8%93%E0%B8%84%E0%B9%88%E0%B8%B2%E0%B8%82%E0%B8%AD%E0%B8%87%E0%B8%A8%E0%B8%B4%E0%B8%A5%E0%B8%9B%E0%B8%B0" title="ลำดับคุณค่าของศิลปะ – Thai" lang="th" hreflang="th" data-title="ลำดับคุณค่าของศิลปะ" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q2595720#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-associated-pages" > <div class="vector-menu-content"> 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Unsourced material may be challenged and removed.<br /><small><span class="plainlinks"><i>Find sources:</i> <a rel="nofollow" class="external text" href="https://www.google.com/search?as_eq=wikipedia&q=%22Hierarchy+of+genres%22">"Hierarchy of genres"</a> – <a rel="nofollow" class="external text" href="https://www.google.com/search?tbm=nws&q=%22Hierarchy+of+genres%22+-wikipedia&tbs=ar:1">news</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?&q=%22Hierarchy+of+genres%22&tbs=bkt:s&tbm=bks">newspapers</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?tbs=bks:1&q=%22Hierarchy+of+genres%22+-wikipedia">books</a> <b>·</b> <a rel="nofollow" class="external text" href="https://scholar.google.com/scholar?q=%22Hierarchy+of+genres%22">scholar</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.jstor.org/action/doBasicSearch?Query=%22Hierarchy+of+genres%22&acc=on&wc=on">JSTOR</a></span></small></span> <span class="date-container"><i>(<span class="date">August 2022</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:CARRACCI,_Annibale_-_An_allegory_of_Truth_and_Time_(1584-5).JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/db/CARRACCI%2C_Annibale_-_An_allegory_of_Truth_and_Time_%281584-5%29.JPG/220px-CARRACCI%2C_Annibale_-_An_allegory_of_Truth_and_Time_%281584-5%29.JPG" decoding="async" width="220" height="168" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/db/CARRACCI%2C_Annibale_-_An_allegory_of_Truth_and_Time_%281584-5%29.JPG/330px-CARRACCI%2C_Annibale_-_An_allegory_of_Truth_and_Time_%281584-5%29.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/db/CARRACCI%2C_Annibale_-_An_allegory_of_Truth_and_Time_%281584-5%29.JPG/440px-CARRACCI%2C_Annibale_-_An_allegory_of_Truth_and_Time_%281584-5%29.JPG 2x" data-file-width="1501" data-file-height="1144" /></a><figcaption><a href="/wiki/Annibale_Carracci" title="Annibale Carracci">Annibale Carracci</a>, <i><a href="/wiki/An_Allegory_of_Truth_and_Time" title="An Allegory of Truth and Time">An Allegory of Truth and Time</a></i> (1584–85), an allegorical <a href="/wiki/History_painting" title="History painting">history painting</a> relying very little upon <a href="/wiki/Realism_(art)" class="mw-redirect" title="Realism (art)">realism</a>.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Retrato_del_Papa_Inocencio_X._Roma,_by_Diego_Vel%C3%A1zquez.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Retrato_del_Papa_Inocencio_X._Roma%2C_by_Diego_Vel%C3%A1zquez.jpg/170px-Retrato_del_Papa_Inocencio_X._Roma%2C_by_Diego_Vel%C3%A1zquez.jpg" decoding="async" width="170" height="217" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Retrato_del_Papa_Inocencio_X._Roma%2C_by_Diego_Vel%C3%A1zquez.jpg/255px-Retrato_del_Papa_Inocencio_X._Roma%2C_by_Diego_Vel%C3%A1zquez.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Retrato_del_Papa_Inocencio_X._Roma%2C_by_Diego_Vel%C3%A1zquez.jpg/340px-Retrato_del_Papa_Inocencio_X._Roma%2C_by_Diego_Vel%C3%A1zquez.jpg 2x" data-file-width="4545" data-file-height="5799" /></a><figcaption><a href="/wiki/Diego_Vel%C3%A1zquez" title="Diego Velázquez">Velázquez</a>, <a href="/wiki/Portrait_painting" title="Portrait painting">portrait painting</a> of <i><a href="/wiki/Pope_Innocent_X" title="Pope Innocent X">Pope Innocent X</a></i>, c. 1650</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Adriaen_van_Ostade_010.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/64/Adriaen_van_Ostade_010.jpg/220px-Adriaen_van_Ostade_010.jpg" decoding="async" width="220" height="240" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/64/Adriaen_van_Ostade_010.jpg/330px-Adriaen_van_Ostade_010.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/64/Adriaen_van_Ostade_010.jpg/440px-Adriaen_van_Ostade_010.jpg 2x" data-file-width="2024" data-file-height="2208" /></a><figcaption>A <a href="/wiki/Genre_painting" title="Genre painting">genre painting</a>. <a href="/wiki/Adriaen_van_Ostade" title="Adriaen van Ostade">Adriaen van Ostade</a>, <i>Fishmonger</i>, 1660–1670, oil on oak, 29 × 26.5 cm, <a href="/wiki/Museum_of_Fine_Arts_(Budapest)" title="Museum of Fine Arts (Budapest)">Museum of Fine Arts</a>, Budapest.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg/220px-Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg" decoding="async" width="220" height="159" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg/330px-Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg/440px-Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg 2x" data-file-width="3742" data-file-height="2711" /></a><figcaption>A <a href="/wiki/Landscape_art" class="mw-redirect" title="Landscape art">landscape</a>. <a href="/wiki/Themistokles_von_Eckenbrecher" title="Themistokles von Eckenbrecher">Themistokles von Eckenbrecher</a>, <i>View of Laerdalsoren, on the <a href="/wiki/Sognefjord" title="Sognefjord">Sognefjord</a></i>, oil on canvas, 1901.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Snyders_Dogs_fighting.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Snyders_Dogs_fighting.jpg/220px-Snyders_Dogs_fighting.jpg" decoding="async" width="220" height="156" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Snyders_Dogs_fighting.jpg/330px-Snyders_Dogs_fighting.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/50/Snyders_Dogs_fighting.jpg/440px-Snyders_Dogs_fighting.jpg 2x" data-file-width="3600" data-file-height="2548" /></a><figcaption><a href="/wiki/Animal_painting" class="mw-redirect" title="Animal painting">Animal painting</a> by <a href="/wiki/Frans_Snyders" title="Frans Snyders">Frans Snyders</a>, <i>Dogs fighting in a wooded clearing</i></figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Heinrich_Uhl_Stillleben.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Heinrich_Uhl_Stillleben.jpg/220px-Heinrich_Uhl_Stillleben.jpg" decoding="async" width="220" height="182" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Heinrich_Uhl_Stillleben.jpg/330px-Heinrich_Uhl_Stillleben.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/c/c5/Heinrich_Uhl_Stillleben.jpg 2x" data-file-width="423" data-file-height="350" /></a><figcaption>A <a href="/wiki/Still_life" title="Still life">still life</a>. <a href="/w/index.php?title=Heinrich_Uhl&action=edit&redlink=1" class="new" title="Heinrich Uhl (page does not exist)">Heinrich Uhl</a>, <i>Still life with Jewelry Box, Opera Glasses, Gloves, and Bouquet of Flowers</i>, oil on canvas, 50 x 60 cm.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bruegel,_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Bruegel%2C_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg/220px-Bruegel%2C_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg" decoding="async" width="220" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Bruegel%2C_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg/330px-Bruegel%2C_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Bruegel%2C_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg/440px-Bruegel%2C_Pieter_de_Oude_-_De_val_van_icarus_-_hi_res.jpg 2x" data-file-width="1143" data-file-height="755" /></a><figcaption><i><a href="/wiki/Landscape_with_the_Fall_of_Icarus" title="Landscape with the Fall of Icarus">Landscape with the Fall of Icarus</a></i>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1560</span> after <a href="/wiki/Pieter_Bruegel_the_Elder" title="Pieter Bruegel the Elder">Pieter Bruegel</a>, an original treatment of a history subject dominated by a genre figure.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Pythagoras_advocating_vegetarianism_(1618-20);_Peter_Paul_Rubens.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Pythagoras_advocating_vegetarianism_%281618-20%29%3B_Peter_Paul_Rubens.jpg/220px-Pythagoras_advocating_vegetarianism_%281618-20%29%3B_Peter_Paul_Rubens.jpg" decoding="async" width="220" height="156" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Pythagoras_advocating_vegetarianism_%281618-20%29%3B_Peter_Paul_Rubens.jpg/330px-Pythagoras_advocating_vegetarianism_%281618-20%29%3B_Peter_Paul_Rubens.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Pythagoras_advocating_vegetarianism_%281618-20%29%3B_Peter_Paul_Rubens.jpg/440px-Pythagoras_advocating_vegetarianism_%281618-20%29%3B_Peter_Paul_Rubens.jpg 2x" data-file-width="2000" data-file-height="1419" /></a><figcaption><i><a href="/wiki/Pythagoras" title="Pythagoras">Pythagoras</a> Advocating Vegetarianism</i> (1628–1630), by <a href="/wiki/Peter_Paul_Rubens" title="Peter Paul Rubens">Peter Paul Rubens</a> (figures) and <a href="/wiki/Frans_Snyders" title="Frans Snyders">Frans Snyders</a> (still life), mixing history painting and still life in a way typical of <a href="/wiki/Flemish_Baroque_painting" title="Flemish Baroque painting">Flemish Baroque painting</a>.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Burial_of_Phocion.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Burial_of_Phocion.jpg/220px-Burial_of_Phocion.jpg" decoding="async" width="220" height="148" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Burial_of_Phocion.jpg/330px-Burial_of_Phocion.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Burial_of_Phocion.jpg/440px-Burial_of_Phocion.jpg 2x" data-file-width="1162" data-file-height="780" /></a><figcaption>The <i>Burial of <a href="/wiki/Phocion" title="Phocion">Phocion</a></i> by <a href="/wiki/Poussin" class="mw-redirect" title="Poussin">Poussin</a>, 1648; a couple of small figures upgrade a landscape into a history painting</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Paulus_Potter_-_Young_Bull.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Paulus_Potter_-_Young_Bull.JPG/220px-Paulus_Potter_-_Young_Bull.JPG" decoding="async" width="220" height="153" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Paulus_Potter_-_Young_Bull.JPG/330px-Paulus_Potter_-_Young_Bull.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Paulus_Potter_-_Young_Bull.JPG/440px-Paulus_Potter_-_Young_Bull.JPG 2x" data-file-width="1408" data-file-height="976" /></a><figcaption><a href="/wiki/Paulus_Potter" title="Paulus Potter">Paulus Potter</a>, <i><a href="/wiki/The_Bull_(painting)" class="mw-redirect" title="The Bull (painting)">The Bull</a></i> (1647); 3.4 metres wide. An unusually monumental animal painting that challenges the hierarchy of genres by its size; in the 19th century such works would become common.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Wright_of_Derby,_The_Orrery.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Wright_of_Derby%2C_The_Orrery.jpg/220px-Wright_of_Derby%2C_The_Orrery.jpg" decoding="async" width="220" height="154" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Wright_of_Derby%2C_The_Orrery.jpg/330px-Wright_of_Derby%2C_The_Orrery.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Wright_of_Derby%2C_The_Orrery.jpg/440px-Wright_of_Derby%2C_The_Orrery.jpg 2x" data-file-width="6527" data-file-height="4581" /></a><figcaption><a href="/wiki/Joseph_Wright_of_Derby" title="Joseph Wright of Derby">Joseph Wright of Derby</a>, <i><a href="/wiki/A_Philosopher_Lecturing_on_the_Orrery" title="A Philosopher Lecturing on the Orrery">A Philosopher Lecturing on the Orrery</a></i>, 1766, a <a href="/wiki/Conversation_piece_(paintings)" class="mw-redirect" title="Conversation piece (paintings)">conversation piece</a> with no portraits and with the full seriousness of the history painting.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5a/David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg/220px-David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg" decoding="async" width="220" height="142" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5a/David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg/330px-David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5a/David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg/440px-David_Wilkie_Chelsea_Pensioners_Reading_the_Waterloo_Dispatch.jpg 2x" data-file-width="3108" data-file-height="2000" /></a><figcaption><a href="/wiki/David_Wilkie_(artist)" title="David Wilkie (artist)">Sir David Wilkie</a>, <i><a href="/wiki/The_Chelsea_Pensioners_reading_the_Waterloo_Dispatch" class="mw-redirect" title="The Chelsea Pensioners reading the Waterloo Dispatch">The Chelsea Pensioners reading the Waterloo Dispatch</a></i>, 1822. Genre or history painting? The types have merged, in a way typical of the 19th century.</figcaption></figure> <p>A <b>hierarchy of genres</b> is any formalization which ranks different <a href="/wiki/Genre" title="Genre">genres</a> in an art form in terms of their prestige and cultural value. </p><p>In literature, the <a href="/wiki/Epic_poetry" title="Epic poetry">epic</a> was considered the highest form, for the reason expressed by <a href="/wiki/Samuel_Johnson" title="Samuel Johnson">Samuel Johnson</a> in his <i>Life of <a href="/wiki/John_Milton" title="John Milton">John Milton</a></i>: "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions." Below that came <a href="/wiki/Lyric_poetry" title="Lyric poetry">lyric poetry</a>, and comic poetry, with a similar ranking for <a href="/wiki/Drama" title="Drama">drama</a>. The <a href="/wiki/Novel" title="Novel">novel</a> took a long time to establish a firm place in the hierarchy, doing so only as belief in any systematic hierarchy of forms expired in the 19th century. </p><p>In music, <a href="/wiki/Lyrics" title="Lyrics">lyrical</a> settings of words were accorded a higher status than merely instrumental works, at least until the <a href="/wiki/Baroque" title="Baroque">Baroque</a> period, and <a href="/wiki/Opera" title="Opera">opera</a> retained a superior status for much longer. The status of works also varies with the number of players and singers involved, with those written for large forces, which are certainly more difficult to write and more expensive to perform, given higher status. Any element of comedy reduced the status of a work, though, as in other art forms, often increased its popularity. </p><p>The hierarchies in <a href="/wiki/Figurative_art" title="Figurative art">figurative art</a> are those initially formulated for painting in 16th-century Italy, which held sway with little alteration until the early 19th century. These were formalized and promoted by the <a href="/wiki/Academy" title="Academy">academies</a> in Europe between the 17th century and the modern era, of which the most influential became the French <a href="/wiki/Acad%C3%A9mie_de_peinture_et_de_sculpture" class="mw-redirect" title="Académie de peinture et de sculpture">Académie de peinture et de sculpture</a>, which held a central role in <a href="/wiki/Academic_art" title="Academic art">Academic art</a>. The fully developed hierarchy distinguished between:<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> <ul><li><a href="/wiki/History_painting" title="History painting">History painting</a>, including historically important, religious, mythological, or allegorical subjects</li> <li><a href="/wiki/Portrait_painting" title="Portrait painting">Portrait painting</a></li> <li><a href="/wiki/Genre_works" class="mw-redirect" title="Genre works">Genre painting</a> or scenes of everyday life</li> <li><a href="/wiki/Landscape_art" class="mw-redirect" title="Landscape art">Landscape</a> and cityscape art (landscapists were called "common <a href="/wiki/Infantry" title="Infantry">footmen</a> in the Army of Art" by the Dutch theorist <a href="/wiki/Samuel_van_Hoogstraten" class="mw-redirect" title="Samuel van Hoogstraten">Samuel van Hoogstraten</a>)</li> <li><a href="/wiki/Animal_painting" class="mw-redirect" title="Animal painting">Animal painting</a></li> <li><a href="/wiki/Still_life" title="Still life">Still life</a></li></ul> <p>The hierarchy was based on a distinction between art that made an intellectual effort to "render visible the universal essence of things" (<i>imitare</i> in Italian) and that which merely consisted of "mechanical copying of particular appearances" (<i>ritrarre</i>).<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Idealism" title="Idealism">Idealism</a> was privileged over <a href="/wiki/Philosophical_realism" title="Philosophical realism">realism</a> in line with <a href="/wiki/Renaissance_Neo-Platonist" class="mw-redirect" title="Renaissance Neo-Platonist">Renaissance Neo-Platonist</a> philosophy. </p><p>The term is mostly used within the field of painting, and from the <a href="/wiki/High_Renaissance" title="High Renaissance">High Renaissance</a> onwards, by which time painting had asserted itself as the highest form of art. This had not been the case in <a href="/wiki/Medieval_art" title="Medieval art">Medieval art</a> and the art-commissioning sectors of society took a considerable period to fully accept this view. The <a href="/wiki/Raphael_Cartoons" title="Raphael Cartoons">Raphael Cartoons</a> are a clear example of the continuing status of <a href="/wiki/Tapestry" title="Tapestry">tapestry</a>, the most expensive form of art in the 16th century. In the Early <a href="/wiki/Middle_Ages" title="Middle Ages">Medieval period</a>, lavish pieces of metalwork had typically been the most highly regarded, and valuable materials remained an important ingredient in the appreciation of art until at least the 17th century. Until the 19th century, the most extravagant <a href="/wiki/Objets_d%27art" class="mw-redirect" title="Objets d'art">objets d'art</a> remained more expensive, both new and on the art market, than all but a few paintings. Classical writings which valued the supreme skills of individual artists were influential, as well as developments in art which allowed the Renaissance artist to demonstrate their skill and invention to a greater degree than was usually possible in the Middle Ages. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Renaissance_art">Renaissance art</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hierarchy_of_genres&action=edit&section=1" title="Edit section: Renaissance art"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Renaissance_art" title="Renaissance art">Renaissance art</a></div> <p>The hierarchy grew out of the struggle to gain acceptance of painting as one of the <a href="/wiki/Liberal_arts" class="mw-redirect" title="Liberal arts">liberal arts</a>, and then controversies to establish an equal or superior status within them with <a href="/wiki/Architecture" title="Architecture">architecture</a> and <a href="/wiki/Sculpture" title="Sculpture">sculpture</a>. These matters were considered of great importance by artist-theorists such as <a href="/wiki/Leon_Battista_Alberti" title="Leon Battista Alberti">Leon Battista Alberti</a>, <a href="/wiki/Leonardo_da_Vinci" title="Leonardo da Vinci">Leonardo da Vinci</a>, and <a href="/wiki/Giorgio_Vasari" title="Giorgio Vasari">Giorgio Vasari</a>. Against the sculptors, Leonardo argued that the intellectual effort necessary to create an illusion of three-dimensionality made the painters' art superior to that of the sculptor, who could do so merely by recording appearances.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> In his <i><a href="/wiki/De_Pictura" class="mw-redirect" title="De Pictura">De Pictura</a></i> ("About Painting") of 1441, Alberti argued that multi-figure history painting was the noblest form of art, as being the most difficult, which required mastery of all the others, because it was a visual form of history, and because it had the greatest potential to move the viewer. He placed emphasis on the ability to depict the interactions between the figures by gesture and expression.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>Theorists of the Early and High Renaissance accepted the importance of representing nature closely, at least until the later writings of <a href="/wiki/Michelangelo" title="Michelangelo">Michelangelo</a>, who was strongly influenced by <a href="/wiki/Neoplatonism" title="Neoplatonism">neoplatonism</a>.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> By the time of <a href="/wiki/Mannerist" class="mw-redirect" title="Mannerist">Mannerist</a> theorists such as <a href="/wiki/Gian_Paolo_Lomazzo" title="Gian Paolo Lomazzo">Gian Paolo Lomazzo</a> and <a href="/wiki/Federico_Zuccari" title="Federico Zuccari">Federico Zuccari</a> (both also painters) this was far less of a priority. Both emphasized beauty as "something which was directly infused into the mind of man from the mind of God, and existed there independent of any sense-impressions", a view bound to further reduce the status of works depending on realism.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> In practice the hierarchy represented little break with either medieval and classical thought, except to place secular history painting in the same class as religious art, and to distinguish (not always clearly) between static iconic religious subjects and narrative figure scenes, giving the latter a higher status. Ideas of <a href="/wiki/Decorum" title="Decorum">decorum</a> also fed into the hierarchy; comic, sordid or merely frivolous subjects or treatment ranked lower than elevated and moral ones.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (May 2018)">citation needed</span></a></i>]</sup> </p><p>During the Renaissance landscape, genre scenes and still lifes hardly existed as established genres, so discussion of the status or importance of different types of painting was mainly concerned with history subjects as against portraits, initially small and unpretentious, and iconic portrait-type religious and mythological subjects. For most artists some commitment to realism was necessary in a portrait; few could take the high-handed approach of Michelangelo, who largely ignored the actual appearance of the <a href="/wiki/Medici" class="mw-redirect" title="Medici">Medici</a> in his <a href="/wiki/Medici_Chapel_(Michelangelo)" class="mw-redirect" title="Medici Chapel (Michelangelo)">Medici Chapel</a> sculptures, supposedly saying that in a thousand years no one would know the difference (a retort <a href="/wiki/Thomas_Gainsborough" title="Thomas Gainsborough">Gainsborough</a> is also said to have used, with a shorter timeframe).<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>Many portraits were extremely flattering, which could be justified by an appeal to idealism as well as the sitter's vanity; the theorist <a href="/wiki/Giovanni_Battista_Armenini" title="Giovanni Battista Armenini">Armenini</a><sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> claimed in 1587 that "portraits by excellent artists are considered to be painted with better style [<i>maniera</i>] and greater perfection than others, but more often than not they are less good likenesses".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> On the other hand, numbers of courtly sitters and their parents, suitors or courtiers complained that painters entirely failed to do justice to the reality of the sitter.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>The question of decorum in religious art became the focus of intense effort by the Catholic Church after the <a href="/wiki/Art_in_Roman_Catholicism#Council_of_Trent" class="mw-redirect" title="Art in Roman Catholicism">decrees on art of the Council of Trent</a> of 1563. Paintings depicting biblical events as if they were occurring in the households of wealthy contemporary Italians were attacked, and soon ceased. Until the challenge of <a href="/wiki/Caravaggio" title="Caravaggio">Caravaggio</a> at the end of the century, religious art became thoroughly ideal.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (May 2018)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading2"><h2 id="17th_and_18th_century_art">17th and 18th century art</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hierarchy_of_genres&action=edit&section=2" title="Edit section: 17th and 18th century art"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The new genres of landscape, genre painting, animal painting and still life came into their own in the 17th century, with the virtual cessation of religious painting in Protestant countries, and the expansion of picture buying to the prosperous middle class. Although similar developments occurred in all advanced European countries, they were most evident in the enormously productive schools of <a href="/wiki/Dutch_Golden_Age_painting" title="Dutch Golden Age painting">Dutch Golden Age painting</a> and <a href="/wiki/Flemish_Baroque_painting" title="Flemish Baroque painting">Flemish Baroque painting</a>. However no theorists emerged to champion the new genres, and the relatively small amount of Dutch theoretical writing, by <a href="/wiki/Karel_van_Mander" title="Karel van Mander">Karel van Mander</a>, <a href="/wiki/Samuel_Dirksz_van_Hoogstraten" title="Samuel Dirksz van Hoogstraten">Samuel Dirksz van Hoogstraten</a>,<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Gerard_de_Lairesse" title="Gerard de Lairesse">Gerard de Lairesse</a> and others, was mostly content to rehash Italian views, so that their writings can seem oddly at variance with the Dutch art actually being produced in their day.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>The hierarchy was mostly accepted by artists, and even genre specialists such as <a href="/wiki/Jan_Steen" title="Jan Steen">Jan Steen</a>, <a href="/wiki/Karel_Dujardin" title="Karel Dujardin">Karel Dujardin</a> and <a href="/wiki/Vermeer" class="mw-redirect" title="Vermeer">Vermeer</a> produced a few history paintings, which were better paid when commissions could be obtained, but in general far harder to sell. The unhappy history of <a href="/wiki/Rembrandt" title="Rembrandt">Rembrandt</a>'s last history commission, <i><a href="/wiki/The_Conspiracy_of_Claudius_Civilis" title="The Conspiracy of Claudius Civilis">The Conspiracy of Claudius Civilis</a></i> (1661) illustrates both his commitment to the form and the difficulties he had in finding an audience.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> In Flanders, as well as great quantities of pure genre works, there was a trend towards history paintings with a major genre element, whether animals, landscape or still life. Often the different elements were painted by different artists; <a href="/wiki/Rubens" class="mw-redirect" title="Rubens">Rubens</a> and <a href="/wiki/Frans_Snyders" title="Frans Snyders">Frans Snyders</a> often co-operated in this way. </p><p>The size of paintings, and very often the prices they realized, increasingly tended to reflect their position in the hierarchy in this period. Until the Romantic period the price and saleability of what were essentially landscapes could be increased by adding small mythological or religious figures, creating a <i>landscape with...</i>, a practice that went back to the beginnings of landscape painting in the Flemish <a href="/wiki/World_landscape" title="World landscape">world landscapes</a> of <a href="/wiki/Joachim_Patinir" title="Joachim Patinir">Joachim Patinir</a> in the early 16th century. <a href="/wiki/Flemish_Baroque_painting" title="Flemish Baroque painting">Flemish Baroque painting</a> was the last school to often paint the lowest genres at a large size, but usually combined with figure subjects. </p><p> An influential formulation of 1667 by <a href="/wiki/Andr%C3%A9_F%C3%A9libien" title="André Félibien">André Félibien</a>, a historiographer, architect and theoretician of French classicism became the classic statement of the theory for the 18th century:</p><blockquote><p>Celui qui fait parfaitement des païsages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes & sans mouvement; & comme la figure de l'homme est le plus parfait ouvrage de Dieu sur la Terre, il est certain aussi que celui qui se rend l'imitateur de Dieu en peignant des figures humaines, est beaucoup plus excellent que tous les autres ... un Peintre qui ne fait que des portraits, n'a pas encore cette haute perfection de l'Art, & ne peut prétendre à l'honneur que reçoivent les plus sçavans. Il faut pour cela passer d'une seule figure à la représentation de plusieurs ensemble; il faut traiter l'histoire & la fable; il faut représenter de grandes actions comme les historiens, ou des sujets agréables comme les Poëtes; & montant encore plus haut, il faut par des compositions allégoriques, sçavoir couvrir sous le voile de la fable les vertus des grands hommes, & les mystères les plus relevez.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup></p></blockquote> <blockquote><p>He who produces perfect landscapes is above another who only produces fruit, flowers or seashells. He who paints living animals is more estimable than those who only represent dead things without movement, and as man is the most perfect work of God on the earth, it is also certain that he who becomes an imitator of God in representing human figures, is much more excellent than all the others ... a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. For that he must pass from representing a single figure to several together; history and myth must be depicted; great events must be represented as by historians, or like the poets, subjects that will please, and climbing still higher, he must have the skill to cover under the veil of myth the virtues of great men in allegories, and the mysteries they reveal".</p></blockquote> <p>Allegorical painting was raised above other types of <a href="/wiki/History_painting" title="History painting">history painting</a>; together they were the <i>grand genre</i>, including paintings with religious, mythological, historical, literary, or allegorical subjects—they embodied some interpretation of life or conveyed a moral or intellectual message. The gods and goddesses from the ancient mythologies represented different aspects of the human psyche, figures from religions represented different ideas, and history, like the other sources, represented a dialectic or play of ideas. Subjects with several figures ranked higher than single figures. For a long time, especially during the <a href="/wiki/French_Revolution" title="French Revolution">French Revolution</a>, history painting often focused on depiction of the heroic male nude; though this waned in the 19th century. </p><p>After history painting came, in order of decreasing worth: <a href="/wiki/Portrait_painting" title="Portrait painting">portraits</a>, scenes of everyday life (called <i>scènes de genre</i>, or "<a href="/wiki/Genre_works" class="mw-redirect" title="Genre works">genre painting</a>", and also <i>petit genre</i> to contrast it with the <i>grande genre</i>), <a href="/wiki/Landscape_art" class="mw-redirect" title="Landscape art">landscapes</a>, animal painting, and finally <a href="/wiki/Still_life" title="Still life">still lifes</a>. In his formulation, such paintings were inferior because they were merely reportorial pictures without moral force or artistic imagination. Genre paintings—neither ideal in style, nor elevated in subject—were admired for their skill, ingenuity, and even humour, but never confused with high art. </p><p>The hierarchy of genres also had a corresponding hierarchy of formats: large format for history paintings, small format for still lifes. This had occasionally been breached in the past, especially in large Flemish works, and the monumental <i><a href="/wiki/The_Young_Bull" title="The Young Bull">The Young Bull</a></i> of the Dutch artist <a href="/wiki/Paulus_Potter" title="Paulus Potter">Paulus Potter</a>, as well as the larger of the two <i><a href="/wiki/Butchers%27_Shop" class="mw-redirect" title="Butchers' Shop">Butchers' Shop</a></i> canvases of <a href="/wiki/Annibale_Carracci" title="Annibale Carracci">Annibale Carracci</a>. But for the most part the relative prices obtainable for the different genres ensured the hierarchy of size also; it would not have been economic to paint a very large subject from the lower genres, except for commissioned group portraits. Rubens' largest landscapes were painted for his own houses. </p><p>The use of the pictorial elements of painting such as line and color to convey an ultimate unifying theme or idea was regarded as the highest expression of art, and an idealism was adopted in art, whereby forms seen in nature would be generalized, and in turn subordinated to the unity of the artwork. It aimed at universal truth through the imitation of nature. Later dissenting theorists, such as <a href="/wiki/Gotthold_Ephraim_Lessing" title="Gotthold Ephraim Lessing">Gotthold Ephraim Lessing</a>, held that this focus on <a href="/wiki/Allegory" title="Allegory">allegory</a> was faulty and based on a wrong analogy between the plastic arts and poetry rooted in the <a href="/wiki/Horace" title="Horace">Horatian</a> dictum <a href="/wiki/Ut_pictura_poesis" title="Ut pictura poesis">ut pictura poesis</a> ("as is painting so is poetry"). </p><p>The British painter <a href="/wiki/Sir_Joshua_Reynolds" class="mw-redirect" title="Sir Joshua Reynolds">Sir Joshua Reynolds</a> in his <i>Discourses</i> of the 1770s and 1780s, reiterated the argument for still life to the lowest position in the hierarchy of genres on the grounds that it interfered with the painter's access to central forms, those products of the mind's generalising powers. At the summit reigned history painting, centred on the human body: familiarity with the forms of the body permitted the mind of the painter, by comparing innumerable instances of the human form, to abstract from it those typical or central features that represented the body's essence or ideal. </p><p>Though Reynolds agreed with Félibien about the natural order of the genres, he held that an important work from any genre of painting could be produced under the hand of genius: "Whether it is the human figure, an animal, or even inanimate objects, there is nothing, however unpromising in appearance, but may be raised into dignity, convey sentiment, and produce emotion, in the hands of a painter of genius. What was said of <a href="/wiki/Virgil" title="Virgil">Virgil</a>, that he threw even the dung about the ground with an air of dignity, may be applied to <a href="/wiki/Titian" title="Titian">Titian</a>; whatever he touched, however naturally mean, and habitually familiar, by a kind of magic he invested with grandeur and importance." </p><p>Though European academies usually strictly insisted on this hierarchy, over their reign, many artists were able to invent new genres which raised the lower subjects to the importance of history painting. Reynolds himself achieved this by inventing the portraiture style that was called the <a href="/wiki/Grand_Manner" class="mw-redirect" title="Grand Manner">Grand Manner</a>, where he flattered his sitters by likening them to mythological characters. <a href="/wiki/Jean-Antoine_Watteau" class="mw-redirect" title="Jean-Antoine Watteau">Jean-Antoine Watteau</a> invented a genre that was called <a href="/wiki/F%C3%AAtes_galantes" class="mw-redirect" title="Fêtes galantes">fêtes galantes</a>, where he would show scenes of courtly amusements taking place in Arcadian settings; these often had a poetic and allegorical quality which were considered to ennoble them. </p><p><a href="/wiki/Claude_Lorrain" title="Claude Lorrain">Claude Lorrain</a> practised a genre called the <a href="/wiki/Ideal_landscape" class="mw-redirect" title="Ideal landscape">ideal landscape</a>, where a composition would be loosely based on nature and dotted with classical ruins as a setting for a biblical or historical theme. It artfully combined landscape and history painting, thereby legitimising the former. It is synonymous with the term <i>historical landscape</i> which received official recognition in the Académie française when a <span title="French-language text"><span lang="fr" style="font-style: normal;"><a href="/wiki/Prix_de_Rome" title="Prix de Rome">Prix de Rome</a></span></span> for the genre was established in 1817. Finally, <a href="/wiki/Jean-Baptiste-Sim%C3%A9on_Chardin" class="mw-redirect" title="Jean-Baptiste-Siméon Chardin">Jean-Baptiste-Siméon Chardin</a> was able to create still life paintings that were considered to have the charm and beauty as to be placed alongside the best allegorical subjects. However, aware of this hierarchy, <a href="/wiki/Chardin" title="Chardin">Chardin</a> began including figures in his work in about 1730, mainly women and children. </p> <div class="mw-heading mw-heading2"><h2 id="19th_century">19th century</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hierarchy_of_genres&action=edit&section=3" title="Edit section: 19th century"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Romanticism" title="Romanticism">Romanticism</a> greatly increased the status of landscape painting, beginning in <a href="/wiki/British_art" class="mw-redirect" title="British art">British art</a> and more gradually that of genre painting, which began to influence history painting in the anecdotal treatments of the <a href="/wiki/Style_Troubadour" class="mw-redirect" title="Style Troubadour">Style Troubadour</a> in France and equivalent trends elsewhere. Landscapes grew in size to reflect their new importance, often matching history paintings, especially in the American <a href="/wiki/Hudson_River_School" title="Hudson River School">Hudson River School</a> and Russian painting. Animal paintings also increased in size and dignity, but the full-length portrait, even of royalty, became mostly reserved for large public buildings. </p><p>Until the middle of the 19th century, <a href="/wiki/Women_artists" title="Women artists">women</a> were largely unable to paint history paintings as they were not allowed to participate in the final process of artistic training—that of life drawing, in order to protect their modesty. They could work from reliefs, prints, casts and from the Old Masters, but not from the nude model. Instead they were encouraged to participate in the lower painting forms such as portraiture, landscape and genre. These were considered more feminine in that they appealed to the eye rather than the mind. </p><p>Toward the end of the 19th century, painters and critics began to rebel against the many rules of the Académie française, including the status accorded to <a href="/wiki/History_painting" title="History painting">history painting</a>, which was beginning to be bought mainly by public bodies of one sort or another, as private buyers preferred subjects from lower down the hierarchy. In Britain the <a href="/wiki/Pre-Raphaelite" class="mw-redirect" title="Pre-Raphaelite">Pre-Raphaelite</a> movement tried to revitalize the history painting, with mixed success; other movements made similar efforts. Many Pre-Raphaelites ended their careers mainly painting other subjects. New artistic movements included the <a href="/wiki/Realism_(visual_arts)" class="mw-redirect" title="Realism (visual arts)">Realists</a> and <a href="/wiki/Impressionism" title="Impressionism">Impressionists</a>, which each sought to depict the present moment and daily life as observed by the eye, and unattached from historical significance; the Realists often choosing genre painting and still life, while the Impressionists would most often focus on landscapes. </p> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hierarchy_of_genres&action=edit&section=4" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFBelton1996" class="citation book cs1">Belton, Robert J. (1996). <a rel="nofollow" class="external text" href="http://fccs.ok.ubc.ca/about/links/resources/arthistory/elements.html">"The Elements of Art"</a>. <i>Art History: A Preliminary Handbook</i>. Faculty of Creative and Critical Studies: UBC's Okanagan Campus. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180806151551/http://fccs.ok.ubc.ca/about/links/resources/arthistory/elements.html">Archived</a> from the original on Aug 6, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Elements+of+Art&rft.btitle=Art+History%3A+A+Preliminary+Handbook&rft.pub=Faculty+of+Creative+and+Critical+Studies%3A+UBC%27s+Okanagan+Campus&rft.date=1996&rft.aulast=Belton&rft.aufirst=Robert+J.&rft_id=http%3A%2F%2Ffccs.ok.ubc.ca%2Fabout%2Flinks%2Fresources%2Farthistory%2Felements.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHierarchy+of+genres" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Bass, 36 <a rel="nofollow" class="external text" href="https://books.google.com/books?id=6TSDvkud168C&dq=Hierarchy+of+genres+painting&pg=PA36">Google books</a></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Blunt, 28, 53-4</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Blunt, 11-12,</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Blunt, 61, 65-74</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Blunt, 140-141 (quote, 141)</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Campbell, 1-2</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Giovanni Battista Armenini (1533-1609) <i>De vera precetti della pittura</i> (1587), " On the True Precepts of the Art of Painting".</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Campbell, 23-24 (quote)</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Campbell, 38-9</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><i>Inleyding tot de Hooge Schoole der Schilderkonst</i> ( Rotterdam 1678), "Introduction to the Academy of Painting".</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Fuchs, 103-104</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Fuchs, 69-77</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=jl8IAeoj-7IC&dq=Hierarchy+of+genres+painting&pg=PA97">Books.google.co.uk</a>, translation</span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hierarchy_of_genres&action=edit&section=5" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Bass, Laura L.,<i>The Drama of the Portrait: Theater and Visual Culture in Early Modern Spain</i>, Penn State Press, 2008, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-271-03304-5" title="Special:BookSources/0-271-03304-5">0-271-03304-5</a>, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-271-03304-4" title="Special:BookSources/978-0-271-03304-4">978-0-271-03304-4</a></li> <li><a href="/wiki/Anthony_Blunt" title="Anthony Blunt">Blunt Anthony</a>, <i>Artistic Theory in Italy, 1450-1660</i>, 1940 (refs to 1985 edn), <a href="/wiki/OUP" class="mw-redirect" title="OUP">OUP</a>, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-881050-4" title="Special:BookSources/0-19-881050-4">0-19-881050-4</a></li> <li>Campbell, Lorne, <i>Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries</i>, Yale, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-300-04675-8" title="Special:BookSources/0-300-04675-8">0-300-04675-8</a></li> <li>Fuchs, RH; <i>Dutch painting</i>; 1978, Thames and Hudson, London, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-500-20167-6" title="Special:BookSources/0-500-20167-6">0-500-20167-6</a></li> <li>Lee, Rensselaer W., <i>Ut Pictura Poesis, The Humanistic Theory of Painting</i>, Norton Simon, New York, 1967. <a rel="nofollow" class="external text" href="http://www.noteaccess.com/Texts/Lee/">Rensselaer W. Lee, <i>Ut Pictura Poesis</i> Online text of book</a></li> <li><a href="/wiki/Gerald_Reitlinger" title="Gerald Reitlinger">Reitlinger, Gerald</a>; <i>The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961</i></li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&useformat=desktop" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Hierarchy_of_genres&oldid=1259979073">https://en.wikipedia.org/w/index.php?title=Hierarchy_of_genres&oldid=1259979073</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Visual_arts_genres" title="Category:Visual arts genres">Visual arts genres</a></li><li><a href="/wiki/Category:Art_history" title="Category:Art history">Art history</a></li><li><a href="/wiki/Category:Painting" title="Category:Painting">Painting</a></li><li><a href="/wiki/Category:Visual_arts_theory" title="Category:Visual arts theory">Visual arts theory</a></li><li><a href="/wiki/Category:Hierarchy" title="Category:Hierarchy">Hierarchy</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_matches_Wikidata" title="Category:Short description matches Wikidata">Short description matches Wikidata</a></li><li><a href="/wiki/Category:Articles_needing_additional_references_from_August_2022" title="Category:Articles needing additional references from August 2022">Articles needing additional references from August 2022</a></li><li><a href="/wiki/Category:All_articles_needing_additional_references" title="Category:All articles needing additional references">All articles needing additional references</a></li><li><a href="/wiki/Category:All_articles_with_unsourced_statements" title="Category:All articles with unsourced statements">All articles with unsourced statements</a></li><li><a href="/wiki/Category:Articles_with_unsourced_statements_from_May_2018" title="Category:Articles with unsourced statements from May 2018">Articles with unsourced statements from May 2018</a></li><li><a href="/wiki/Category:Articles_containing_French-language_text" title="Category:Articles containing French-language text">Articles containing French-language text</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 28 November 2024, at 03:44<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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