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The traditions and spirit of a particular era 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 a large amount of the architecture, interior design, furniture, textiles, ceramics, costume, and crafts, as well as in the fine arts, of their times. After the Industrial Revolution, with the reduced requirement of hand-craftmanship and the loss of direct expression between the fine craftsman and 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 extensive, particularly in architectural, furniture, and typographic design.

Michelangelo and Leonardo da Vinci were inventive painters, sculptors, and architects. Although no artists have since excelled in so wide a range of creative forms, leading 20th-century painters expressed their ideas in many other mediums. In graphic design, for example, Pierre Bonnard, Henri Matisse, and Raoul Dufy printed posters and illustrated books; André Derain, Fernand Léger, Marc Chagall, Mikhail Larionov, Robert Rauschenberg, and David Hockney designed for the theatre; Joan Miró, Georges Braque, and Chagall worked in ceramics; Braque and Salvador Dalí designed jewelry; and Dalí, Hans Richter, and Andy Warhol made films. Many of these, with other modern painters, have also been sculptors and printmakers and have designed for fabrics, tapestries, mosaics, and stained glass, while there are few mediums of the visual arts that Pablo Picasso did not at some point work in and revitalize.

In turn, painters have been stimulated by the imagery, techniques, and design of other visual mediums. One of the earliest of these influences was possibly from the theatre, where the ancient Greeks are thought to have been the first to apply the illusions of optical perspective. The teaching or reappraisal of design techniques and imagery from the art-forms and processes of other cultures has been a wonderful stimulus to the development of more recent schools of Western painting, whether or not their traditional significance have been fully 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 exposed artists to new aspects of nature, while eventually causing others to abandon representational painting altogether. Painters of everyday life, such as Edgar Degas, Henri de Toulouse-Lautrec, Édouard Vuillard, and Bonnard, used the design tricks of camera cutoffs, close-ups, and unconventional viewpoints so as to provide the sensation of sharing an intimate picture space with the figures and objects in the painting.

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