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The final historical period begins with the ascent to the throne of Tewodros II, who claimed Solomonic descent and ends with the deposition of Haile Selassie, the event that marks the end of Solomonic rule in Ethiopia.
During the second half of the nineteenth century, church painting continues to show indebtedness to the second Gondarine style, but contemporary figures and events are depicted next to religious subjects with an increasing frequency. Moreover, while patrons had occasionally been depicted from the Zagwe period onwards in an idealized manner, by the turn of the twentieth century they are portrayed more realistically, as can be seen by the painting of Emperor Menelik II (above) in the church of Entoto Raguel. After the Second World War, traditionally trained Ethiopian painters, such as Qes Adamu Tesfaw, continued to work alongside artists influenced by modernism. The use of imported synthetic colors became increasingly common and by the 1960s icons and manuscripts were created, to a large extent, for the tourist market.
The period known as Zemene Mesafint, or the Era of Judges, begins with the deposition of Emperor Iyosas. This period, which lasted almost a century, saw a decline in the prestige, influence, and authority of the Solomonics, and witnessed the rise of a number of regional warlords who fought against each other for supremacy. This period has received less attention from historians, but seems to have been characterized by a decline in the production of art. Paintings from this period are strongly indebted to works executed during the second Gondarine style in terms of themes and forms, but the palette used by artists moves once again toward bright, plain colors.

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