Welsh bands have the outlet for audiences, on such media as BBC Wales, BBC Cymru, S4C and The Pop Factory. In particular, BBC Radio 1's Bethan and Huw and BBC Radio Wales' Adam Walton support new Welsh music on their respective networks. Every year, both Mentrau Iaith Cymru and Cymdeithas yr Iaith Gymraeg host separate 'Battle of the Bands' competitions for unsigned Welsh language bands, that are sponsored by the C2 radio show. The winners of these competitions get the opportunity to support popular bands in gigs at the National Eisteddfod and a tour through Wales.

Dance

     DJ Sasha is from Hawarden, Flintshire. Also worth noting are the successful Drum and Bass DJ High Contrast who is from Cardiff, the veteran house outfit K-Klass from Wrexham, and the Swansea-based progressive breaks producers Hybrid. There is also a notable movement of Hard Dance music in Wales, often seen as a progression on the Italian Hardstyle sound, with an emphasis on reverse bass. Escape into the Park and Bionic Events are examples of the Welsh Hard Dance scene.On 16 July 2011 Sian Evans of Trip Hop, Synthpop Bristol based band Kosheen had a No.1 Official UK Singles Charts hit in collaboration with DJ Fresh.

The fine arts

     The bard, 1774, Thomas DzhonsUels has ancient traditions in the fine arts, the set of monuments of the Celtic art here was revealed. In the Middle Ages Welsh art had the religious character, the most known monument of Welsh art of that time is Psaltir Rajsmarcha. Welsh artist Richard Wilson was one of the first known British landscape writers, it however is known not Welsh, but the Italian works though it became one of the first artists representing the nature of the Wales. 
Before the XX-th century it was difficult to artists of the Wales to find work in the homeland, many preferred to work in London or abroad. The situation has changed by 1865 when the School of arts of Cardiff has opened. At this time in the Wales the national school of painting that impulses to fine arts development starts to be formed, there is a whole train of gifted artists and sculptors.

Landscapes

     The best of the few Welsh artists of the 16-18th centuries tended to move elsewhere to work, but in the 18th century the dominance of landscape art in English art bought them motives to stay at home, and bought an influx of artists from outside to paint Welsh scenery, which was "discovered" by artists rather earlier than later landscape hotspots like the English Lake District and the Scottish Highlands . The Welsh painter Richard Wilson (1714–1782) is arguably the first major British landscapist, but rather more notable for Italian scenes than Welsh ones, although he did paint several on visits from London.

      Wilson's pupil Thomas Jones (1742–1803), has a rather higher status today than in his own time, but mainly for his city scenes painted in Italy, though his The Bard (1774, Cardiff) is a classic work showing the emerging combination of the Celtic Revival and Romanticism. He returned to live in Wales on inheriting the family estate, but largely stopped painting. For most visiting artists the main attraction was dramatic mountain scenery, in the new taste for the sublime partly stimulated by Edmund Burke 's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757), though some earlier works were painted in Wales in this strain. Early works tended to see the Welsh mountains through the prism of the 17th century Italianate "wild" landscapes of Salvator Rosa and Gaspard Dughet.

      By the 1770s a number of guide books had been published, including Joseph Cradock's Letters from Snowdon (1770) and An Account of Some of the Most Romantic Parts of North Wales (1777). Thomas Pennant wrote Tour in Wales (1778) and Journey to Snowdon (1781/1783) - though Welsh himself, Pennant had published a Tour in Scotland first, in 1769. The first of a series of British tours by another leading promoter of the picturesque, William Gilpin , was Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770 , but not published until 1782. Paul Sandby made his first recorded visit to Wales in 1770, later (1773) touring south Wales with Sir Joseph Banks , resulting in the 1775 publication of XII Views in South Wales and a further 12 views the following year, part of a 48-plate series of aquatints of Welsh views commissioned by Banks. This was an early example of many print series and illustrated books on Wales, often as valuable in terms of income to the artists as original works. What might fifty years earlier have been merely regarded as inconvenience in travel could now been seen as an exciting adventure worth making the subject of a painting, as in Julius Caesar Ibbetson 's Phaeton in a Thunderstorm (1798, now Temple Newsam , Leeds) which shows a carriage struggling up a rough mountain road. It has a label on the back by the artist, recording that the incident occurred when he was travelling in Wales with the artist John "Warwick" Smith and the aristocrat Robert Fulke Greville. Ibbetson visited Wales often, and was also one of the first artists to record the Welsh Industrial Revolution , and scenes of Welsh life. North Wales tended to be more visited; the young watercolourist John Sell Cotman embarked on his "first extended sketching tour" in 1800, starting from Bristol then following "a well-trodden path into the Wye Valley , through Brecknockshire to Llandovery and north to Aberystwyth . In Conway he joined a group of artists gathered around the amateur Sir George Beaumont " perhaps meeting Thomas Girtin there, and continuing to Caernarvon and Llangollen . A second trip followed in 1802; he continued to use motifs from his sketches throughout his career. Other artists often in Wales in this period included Francis Towne , the brothers Cornelius and John Varley and John's pupils Copley Fielding and David Cox (for whose lifelong attachment to Wales see below). Even the caricaturist Thomas Rowlandson visited with Henry Wigstead, a colleague, and they published Remarks on a Tour to North and South Wales, in the Year 1797, an illustrated book.

      The French Revolutionary and Napoleonic Wars made continental travel impossible for long periods, increasing the visitors to Wales and other parts of Britain. The young JMW Turner made his first extended tour to South and mid-Wales in 1792, followed by North Wales in 1794, and a seven-week tour of Wales in 1798. He also visited Yorkshire and Scotland in the 1790s, but was unable to visit Europe until after the Treaty of Amiens in 1802, when he reached the Alps ; he did not visit Italy until 1819. Many of his key early works drew on his Welsh travels, although they were painted back in London. His "first large classicizing watercolor, a Claudeian view of Caernarvon Castle at sunset" was exhibited at the Royal Academy in 1799, along with an oil of the same subject, and the next year he showed another view of the castle, this time with small foreground figures of "a bard singing to his followers of the destruction of Welsh civilization by the invading armies of Edward I ", another Claudeian formula that he was to repeat many times in major works for the rest of his career, and was arguably the first large "exhibition watercolor", reaching into the realm of history painting.

Expansion

      It remained difficult for artists relying on the Welsh market to support themselves until well into the 20th century. The 1851 census records only 136 people describing their occupation as "artist" out of a population of 945,000, with a further 50 engaged in fine arts -related occupations such as engraving. An Act of Parliament in 1857 provided for the establishment of a number of art schools throughout the United Kingdom, and the Cardiff School of Art opened in 1865. Prior to that the annual report for 1855 of the government Science and Art Department shows a list of the larger type of Art School in many British cities, but none in Wales. Under a recently-introduced new system "Local Schools of Art" had been established in 1853 in Llanelly and Merthyr , but had already closed; those in Swansea and Carmarthen continued, and Flint had applied to establish a school. There were "Drawing Schools" in Aberdare and Bangor , but apparently nothing at all in Cardiff. However all these pre-1857 schools, except perhaps Swansea, were mainly teaching school age children, usually in their normal schools, and training in industrial design or teacher-training under the elementary stages of the «South Kensington system»

      Graduates of the new fine arts Welsh colleges still very often had to leave Wales to work. Established artists continued to move in the opposite direction, at least for the summer. David Cox was an English 19th century landscapist who spent much time in Wales, for many years spending the summer based in Betws-y-Coed , a popular centre for artists, including the English Henry Clarence Whaite and the German Hubert von Herkomer , one of whose wives was Welsh. Landscape continued to be the main focus, although the Welsh artist Charles William Mansel Lewis was among those who painted common working people, with varying measures of realism or picturesqueness. The "Betws-y-Coed artist's colony" was one of the groups forming the Royal Cambrian Academy of Art in 1881; this was always a group for exhibiting rather than a teaching institution, based in Conwy, until 1994 in Plas Mawr (see above). The sculptors John Evan Thomas (1810–1873) and Sir William Goscombe John (1860–1952) made many works for Welsh commissions, although they had settled in London. Even Christopher Williams (1873–1934), whose subjects were mostly resolutely Welsh, was based in London. Thomas E. Stephens (1886–1966) and Andrew Vicari (b. 1938) had very successful careers as portraitists based respectively in the United States and France. Sir Frank Brangwyn was Welsh by origin, but spent little time in Wales.

      Perhaps the most famous Welsh painters, Augustus John and his sister Gwen John , mostly lived in London and Paris; however the landscapists Sir Kyffin Williams (1918–2006) and Peter Prendergast (1946–2007) remained living in Wales for most of their lives, though well in touch with the wider art world. Ceri Richards was very engaged in the Welsh art scene as a teacher in Cardiff, and even after moving to London; he was a figurative painter in international styles including Surrealism . Various artists have moved to Wales, usually the countryside, though paintings of Cardiff of around 1893-97 by the American artist Lionel Walden are in museums in Cardiff and Paris. These included Eric Gill , whose colony included for his most artistically productive period (1924–1927) the London-born Welshman David Jones , and the sculptor Jonah Jones . The Kardomah Gang was an intellectual circle centered on the poet Dylan Thomas and poet and artist Vernon Watkins in Swansea, which also included the painter Alfred Janes ; the eponymous cafe was destroyed by a German bomb in 1941.

     The situation gradually improved after World War II, with the appearance of new art groups. In the industrial valleys the Rhondda Group formed in the 1950s a loose group of art students whose most notable member was Ernest Zobole , whose expressionist work was deeply rooted in the juxtaposition of the industrialised buildings of the valleys set against the green hills that surround them. In the 1970s Paul Davies formed Wight, a radical Welsh group whose founding was in part a reaction to the drowning of Capel Celyn. Wight used a mixture of artistic expression, including installation, painting, sculpture and performance, engaging with language, environmental and land rights issues.

Decorative arts

     Южный Уэльс было несколько заметных гончарных в конце 18-го и 19 веков, начиная с (1764-1870, также известный как " керамики ") и в том числе возле Кардиффа, которая была в эксплуатации с 1813 по 1822 решений тонкой , а затем утилитарной керамики до 1920 года. (с 1961 г.) никогда на самом деле были сделаны в Уэльсе. South Wales had several notable potteries in the late 18th and 19th centuries, beginning with the Cambrian Pottery (1764–1870, also known as " Swansea pottery") and including Nantgarw Pottery near Cardiff, which was in operation from 1813 to 1822 making fine porcelain , and then utilitarian pottery until 1920. Portmeirion Pottery (from 1961) has never in fact been made in Wales.

     Несмотря на тот факт, что значительное количество (в связи с ), и намного меньше количества , были добыты в Уэльсе, было мало Серебром в Уэльсе в начале нового времени. Despite the fact that considerable quantities of silver (in association with lead ), and much smaller amounts of gold , were mined in Wales, there was little silversmithing in Wales in the Early Modern period. Это не помогло, что корона дала сама собственность на шахтах , которые в основном были использованы для чеканки валюты, некоторые из которых был отмечен , чтобы показать его происхождения. It did not help that the Crown gave itself ownership of mines of precious metals , which were largely used for minting currency, some of which was marked with the Prince of Wales's feathers to show its origin. Валлийский дворян основном были свои серебряные, сделанные в английских городах. The Welsh gentry mostly had their silver made in English cities.