the Bulgarian fine arts and architecture between 13th and 14th centuries, takes its name from the capital and main cultural center of the Second Bulgarian Empire, Tarnovo. Although it shows the influence of some tendencies of the Palaeologan Renaissance in the Byzantine Empire, the Tarnovo painting had its own unique features which makes it a separate artistic school. Art historians classify its products into two types: mural painting: mural decoration of churches iconography: easel painting The works of the school show some degree of realism, portrait individualism and psychology. The unique and realistic portraits in the Boyana Church class as forerunners of the Renaissance. The wall piers and the arches often featured medallion-shaped bust images of saints. Magnificent examples of those survive in Church of Saints Peter and Paul Church in Tarnovo. Along with traditional scenes such as "Christ's passions" and "Feast cycle" in the second layer; "Christ Pantokrator" in the dome and the Madonna with the infant Christ in the apse, specific images and scenes also appear. During the period of Ottoman rule (1396-1878) the authorities suppressed Bulgarian art. Many churches suffered destruction, and newly built ones remained somewhat modest. In the end of the 18th century the Islamic Ottoman Empire began to decay slowly, thus permitting the Bulgarian National Revival of the 18th and 19th centuries to occur. Bulgaria experienced a revival in every area of culture. Following the Liberation in 1878, fine arts rapidly recovered and came under the influence of European artistic currents such as late Romanticism. After 1878 until the middle of the 20th century, there was an extremely intensive process of incorporating the Bulgarian art into the contemporary European artistic culture. The development of Bulgarian art follows the path of the ethnographic and descriptive genre scenes, painted by the artists after the Liberation, such as Ivan Markvichka, Anton Mitov, Ivan Angelov, Yaroslav Veshin in the exquisite landscapes and elegant portraits typical of the beginning of the 20th century by Nikola Petrov, Nikola Marinov, Stefan Ivanov, Elena Karamihailova together with the expressive decoration of the 1920s (Ivan Milev, Ivan Penkov, Pencho Georgiev ... ) to the extremely wealthy creative talents and various plastic quests in the 1930s and 1940s by Vladimir Dimitrov - The Master, Zlatyu Boyadzhiev, Dechko Uzunov, Nenko Balkanski, Sirak Skitnik, Vera Nedkova, Ivan Nenov, Bencho Obreshkov, with many different artists from different parts of the country. The cartoon, the illustration and the