Contemporary Impasto Painting vs. Painterly Art

In the ever-evolving landscape of contemporary art, painting continues to reinvent itself. Two terms often used—impasto and painterly—may seem interchangeable at first, but they refer to distinct techniques and conceptual approaches. We will delve into the differences and how contemporary artists are exploring these modes today. Each era and approach brings up very different visuals of these notions for me. It can be noted that impasto and painterly can have very decorative and kitsch applications, and, it's all about the artist holding the brush at the end of the day.

These particular classifications are of great interest in my practice, as there is a constant exchange between why artists create, what they are drawn towards commenting on and depicting in their practice, and the media and techniques they utilise in doing so. In my work, I make use of both techniques. In Technikon, I will never forget the process of conceptualising, diary recordings and being immersed in the flow of the creative process while creating art. There was never a set formula. We would sometimes work backwards and other times forwards as our lecturers unpacked our processes and often interrogated where the steps of the end result came from.

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Impasto: More Than Just Texture

Technique

Impasto refers specifically to the physical buildup of paint on the surface of the artwork. The word derives from the Italian for “paste” or “mixture.” In impasto painting, the materiality of the paint becomes the star. Artists often use palette knives, brushes, or other tools to apply thick swaths of pigment, leaving visible ridges, peaks, and gestures that create a highly tactile surface. Light plays a huge role here, as the relief casts shadows that add a sculptural element to the work. Paint and texture appear to protrude from the surface of the painting.

In contemporary impasto, artists push the physicality further—sometimes incorporating mixed media (sand, fabric, resin) into the paint, or building up layers to extreme heights. Some contemporary artists blur the line between painting and low-relief sculpture.

Conceptual Framework - Impasto art

Historically, impasto has been associated with expressive energy which broke the traditional views of those times (think Van Gogh’s turbulent skies), but today, many contemporary artists use impasto to explore ideas around:

• Materiality: Emphasizing the paint as object, not just as an illusionistic tool.

• Embodiment and Gesture: Highlighting the artist’s hand and physical process.

• Memory and Time: Layers of paint become records of accumulated gestures, indexing time and labour.

• Sensory Experience: Viewers are invited to engage visually and tactilely, even if touching isn’t allowed, a little ironic on the latter comment. Sometimes artists even bend that rule and I sure do intend to do so in a future exhibition I have in mind for one day. There is just something about protruding paint that makes you want to go and touch it, especially if it appears to still be setting.

  
  
  
  

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Painterly: The Language of the Brushstroke

Technique

“Painterly” describes a style where the application of paint is loose, expressive, and often visible. It’s less about building physical texture and more about embracing the fluid qualities of paint itself. Edges are soft, transitions are more about gesture and colour relationships than tight rendering or linear precision.

Painterly works are often characterized by:

• Expressive brushwork (even in thinner applications).

• Visible movement within the paint.

• A preference for suggestion over definition of subject matter

  
  

Contemporary painters embrace a painterly style as a way to leave evidence of the painting process—you see where a brush moved across the canvas or where a colour was dragged through wet paint. It’s about celebrating the medium of painting in a painterly style.

Conceptual Framework - Painterly Art

While historically tied to the Impressionists or Abstract Expressionists, contemporary painterly approaches are often about:

• Process over perfection: Showing the journey of making rather than hiding it.

• Rejecting hyperrealism: Prioritizing emotion, mood, and spontaneity.

• Gesture as meaning: The marks themselves carry narrative or emotional weight, rather than the depicted subject.

• Rebellion against digital slickness: Painterly styles often stand in contrast to digitally generated, hyper-smooth imagery, emphasizing the authentic hand of the artist. This aspect is of great significance to me. I love seeing how artists interpret, connecting brain to hand movements in the creative process of capturing a concept.

  
  

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Key Differences at a Glance

Aspect	Impasto	Painterly
Technique	Thick, built-up paint; highly textured	Loose, expressive brushwork; fluid handling
Surface	Sculptural; often casts shadows	Flat or slightly textured; movement within surface
Focus	Materiality and three-dimensionality	Gesture, color harmony, and movement
Conceptual Lens	Paint as object and substance	Paint as an expressive mark and emotion
Viewer Engagement	Tactile (visual emphasis on texture)	Visual (emphasis on movement and color)

Where They Overlap

Many contemporary painters blur these lines. An artist might use impasto techniques but apply them in a painterly, gestural fashion. Likewise, a painterly work can include areas of impasto to heighten certain passages. I have a separate post on why and how these terms are utilised in different ways and for different reasons within my practice. The post can be found on this page on related content.

Conclusion: Why It Matters

Understanding these approaches helps viewers and collectors engage more deeply with contemporary painting. Whether an artist is working in impasto, embracing painterly brushwork, or fusing the two, they’re making conscious decisions about how paint communicates beyond representation.

In my practice, both approaches offer rich possibilities to explore materiality, process, and meaning—pushing painting into exciting new territory, and aiding me in planning the intent and emotional responses that I wish to convey in each piece, in utilising these particular techniques in a blended manner. I elaborate on my application in another post which you can find in related content. To view works, you can follow this link. For practice insights, exhibition opening and updates. Subscribe.

Featured detail image of a painting by Jessica Michelle Le Roux titled Vergeet my nie