Fransız resim sanatının Türk resim sanatına etkisi üzerine karşılaştırmalı örnek eser incelemeleri
Loading...
Date
2015-06-24
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Uludağ Üniversitesi
Abstract
Osmanlı’nın 1829 yılında başta Paris olmak üzere Avrupa’nın başkentlerine sanat öğrencileri göndermesi Türk resim sanatına yeni ve çağdaş yaklaşımlı bir boyut kazandırmıştır. Paris’te sanat eğitimi alma eğilimi cumhuriyet sonrası Türkiye’sinde de devam etmiştir. Fransız ressamların etkisiyle eserler üreten Türk ressamlarının resimlerinde; konu, ifade biçimi ve renk-biçim-yüzey ilişkisi bağlamında yeni resimsel yaklaşımlar görülmektedir. Resimlerde natürmort, peyzaj ve realist figür betimlemelerinin kullanılmasının yanı sıra yenilikçi sanat akımlarının takibiyle Türk resmi bir değişim ve gelişim sürecine girmiştir. Bu süreç içinde gerçekçi figürü Türk resminin konuları arasına alan Osman Hamdi, izlenimci resim anlayışıyla eserler üreten Nazmi Ziya Güran ve farklı teknikler kullanarak çağdaş sanat örnekleri sunan Zeki Faik İzer Türk resmi için önemli sanatçılardır. Bu çalışma; batılılaşma sürecinde farklı dönemlerde Paris’te sanat eğitimi almış Türk ressamlar olan Osman Hamdi, Nazmi Ziya Güran ve Zeki Faik İzer’in resimlerindeki Fransız ressamlara ait resimlerin biçimsel-içeriksel özellikleri açısından etkilerini belirterek oluşan benzerlik - farklılıkları vurgulama ve Türk resminde Fransız resminin etkisini gösteren örnek bir çalışma oluşturma amacıyla yapılmıştır. Çalışmada veri toplama aracı olarak sanat tarihsel ve sanat eleştirisel inceleme kapsamında literatür tarama, eser analizi ve karşılaştırma yöntemleri kullanılmıştır. Eser analizi için seçilmiş eserler; Jean Leon Gerome’a ait “Saray Terasında”, Osman Hamdi’ye ait “Haremden”, Claude Monet’e ait “Argenteuil’de Köprü”, Nazmi Ziya Güran’a ait “Peyzaj”, Eugene Delacroix’ya ait “Halka Yol Gösteren Özgürlük” ve Zeki Faik İzer’e ait “İnkılap Yolunda” adlı sanat eserleridir. Çalışmada birer Türk ve Fransız ressama ait eserin karşılaştırılarak incelenmesi sonucu elde edilen veriler betimleyici tanımlarla analiz edilmiştir. Elde edilen bulgular çalışmanın önemi açısından tartışılmıştır.
By sending art students to many European cities, notably Paris, in 1829, the Ottoman Empire had added a new and contemporary dimension to the art of Turkish painting. This trend of taking art education in Paris has also continued in the country during the post-republic era. In the works by the Turkish painters who reflected the influences by French painters on their own creations, it is possible to see the fresh painterly approaches in terms of theme, manner of expression and the color-form-surface relation. Along with the use of still-life, landscape and realistic figurative imageries in the paintings, Turkish painting has entered into the process of transformation and evolution by chasing the innovative art movements. Osman Hamdi who included realistic figures into the themes of Turkish painting, Nazmi Ziya Guran who created a body of works with the impressionistic manner of painting and Zeki Faik Izer who made use of various techniques and produced a number of contemporary works are the leading and major artists for Turkish painting. This paper has intended to become a precedent study in which the impacts of the paintings by French painters on the works by Osman Hamdi, Nazmi Ziya Guran and Zeki Faik Izer, the Turkish painters who, during the westernization, took art educations in Paris in different periods, have been analyzed in terms of the formal-contextual characteristics, and the similarities and differences have been underlined also itwas made as a sample to show the effects of French painting on Turkish painting. The methods of literature review, artwork analysis and comparison within art-historical and art-critical research have been used as a data collection tool in the paper. The works selected for analysis are included “The Harem on the Terrace” by Jean-Léon Gérôme, “From the Harem” by Osman Hamdi, “The Argenteuil Bridge” by Claude Monet, “The Landscape” by Nazmi Ziya Guran, “Liberty Leading the People” by Eugéne Delacroix, and finally, “On the Path of the Revolution” by Zeki Faik Izer. The data acquired by reviewing the results of the comparisons between a Turkish painting and a French painting have been analyzed with descriptive defining. Findings obtained have been discussed in terms of the importance of the study.
By sending art students to many European cities, notably Paris, in 1829, the Ottoman Empire had added a new and contemporary dimension to the art of Turkish painting. This trend of taking art education in Paris has also continued in the country during the post-republic era. In the works by the Turkish painters who reflected the influences by French painters on their own creations, it is possible to see the fresh painterly approaches in terms of theme, manner of expression and the color-form-surface relation. Along with the use of still-life, landscape and realistic figurative imageries in the paintings, Turkish painting has entered into the process of transformation and evolution by chasing the innovative art movements. Osman Hamdi who included realistic figures into the themes of Turkish painting, Nazmi Ziya Guran who created a body of works with the impressionistic manner of painting and Zeki Faik Izer who made use of various techniques and produced a number of contemporary works are the leading and major artists for Turkish painting. This paper has intended to become a precedent study in which the impacts of the paintings by French painters on the works by Osman Hamdi, Nazmi Ziya Guran and Zeki Faik Izer, the Turkish painters who, during the westernization, took art educations in Paris in different periods, have been analyzed in terms of the formal-contextual characteristics, and the similarities and differences have been underlined also itwas made as a sample to show the effects of French painting on Turkish painting. The methods of literature review, artwork analysis and comparison within art-historical and art-critical research have been used as a data collection tool in the paper. The works selected for analysis are included “The Harem on the Terrace” by Jean-Léon Gérôme, “From the Harem” by Osman Hamdi, “The Argenteuil Bridge” by Claude Monet, “The Landscape” by Nazmi Ziya Guran, “Liberty Leading the People” by Eugéne Delacroix, and finally, “On the Path of the Revolution” by Zeki Faik Izer. The data acquired by reviewing the results of the comparisons between a Turkish painting and a French painting have been analyzed with descriptive defining. Findings obtained have been discussed in terms of the importance of the study.
Description
Keywords
Türk resmi, Fransız resmi, İnceleme, Karşılaştırma, Turkish painting, French painting, Review, Comparison
Citation
Şenol, T. (2015). “Fransız resim sanatının Türk resim sanatına etkisi üzerine karşılaştırmalı örnek eser incelemeleri”. Uludağ Üniversitesi Eğitim Fakültesi, 28(Frankofoni Özel Sayısı), 153-168.