The last authentic period starts with the climb to the high position of Tewodros II, who asserted Solomonic drop and finishes with the statement of Haile Selassie, the occasion that denotes the finish of Solomonic rule in Ethiopia.
During the final part of the nineteenth hundred years, church painting keeps on showing obligation to the second Gondarine style, however contemporary figures and occasions are portrayed close to strict subjects with a rising recurrence. Besides, while supporters had periodically been portrayed from the Zagwe time frame onwards in a glorified way, by the turn of the 20th century they are depicted all the more everything being equal, as should be visible to the painting of Emperor Menelik II (above) in the congregation of Entoto Raguel. After the Second World War, customarily prepared Ethiopian painters, like Qes Adamu Tesfaw, kept on working close by craftsmen impacted by innovation. The utilization of imported manufactured colors turned out to be progressively normal and by the 1960s symbols and compositions were made, generally, for the traveler market.