The last legitimate period begins with Tewodros II’s ascension to the throne, which ensured the Solomonic fall, and ends with Haile Selassie’s affidavit, which marks the end of the Solomonic reign in Ethiopia.
During the last half of the nineteenth century, church painting continues to adhere to the second Gondarine style, but modern individuals and events are increasingly depicted alongside strict subjects. Also, while benefactors had been depicted in an esteemed manner from the Zagwe period onwards, they are depicted even more so by the start of the twentieth century, as can be seen in the painting of Emperor Menelik II (above) in the congregation of Entoto Raguel. Following WWII, traditionally trained Ethiopian artists, such as Qes Adamu Tesfaw, continued to collaborate closely with innovators. Imported synthetic colors became increasingly popular, and by the 1960s, symbols and compositions were mostly designed for the traveler market.
