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{{Short description|Overview of the history of modern Turkish painting}}
{{Refimprove|date=November 2010}}
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{{multiple issues|
{{More citations needed|date=November 2010}}
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{{Culture of Turkey}} {{Culture of Turkey}}
The '''history of modern Turkish painting''' can be traced back to the modernization efforts in the ] during the ] period, in the 19th century. This article contains a brief history of Turkish painters and art movements from the mid-19th century to the present. The '''history of modern Turkish painting''' can be traced back to the modernization efforts in the ] during the ] period, in the 19th century. This article contains a brief history of Turkish painters and art movements from the mid-19th century to the present.


== Mid-19th century to early 20th century ==
==Beginnings==
] ], in the ] sense, developed actively starting from the mid 19th century. ] ], in the ] sense, developed actively starting from the mid-19th century.


* ] (1815–1891)
===Mid-19th century to early 20th century===
*] (c.1839-1906) * ] (c.1839–1906)
*] (1842–1910) * ] (1842–1910)
*] (1841–1907) * ] (1841–1907)
* ] (c.1857–1939)
*] (1857−1913)
* ] (1864–1939)
*] (c.1857–1939)

*] (1864–1939)
The very first painting lessons were scheduled at the ] (Military School of Engineering) in 1793 mostly for technical purposes.{{Citation needed|date=February 2019}} Artists who formed the 19th-century art milieu were often from Ottoman military schools. Additionally, local ] and "]ine" artists, as well as foreign painters who lived in ] and other parts of the Ottoman Empire, contributed to the art milieu in 19th century Turkey. Some Turkish artists, such as ], ], ] and ] were educated in arts abroad. Others, such as ], ], and ] were educated within the country.

The very first painting lessons were scheduled at the "Mühendishane-i Berri-i Humayun" (Military School of Engineering) in 1793 mostly for technical purposes. Artists who formed the 19th-century art milieu were often from Ottoman military schools. Additionally, local ] and "]ine" artists, as well as foreign painters who lived in ] and other parts of the Ottoman Empire, contributed to the art milieu in 19th century Turkey. Some Turkish artists, such as ], ], ] and ] were educated in arts abroad. Others, such as ], ], and ] were educated within the country.
<gallery>
File:Osman Hamdi Bey - Two Musician Girls - Google Art Project.jpg|Two Musician Girls by ]
===The "1914 Generation"===
File:Osman Hamdi Bey - The Tortoise Trainer - Google Art Project.jpg|] by Osman Hamdi Bey, 1906
*] (1881–1937)
File:Osman hamdy bey, vecchio davanti alle tombe di bambini, 1903.JPG|Work by Osman Hamdi Bey
File:Osman Hamdi Bey - Arzuhalci , Public Scribe - Google Art Project.jpg|Arzuhalci by Osman Hamdi Bey
MimosalıKadın.jpg|Woman with Mimosa by Osman Hamdi Bey
Boywearingafez.jpg|Boy Wearing a Fez (1882) by Osman Hamdi Bey
File:OttomanNavy.jpg|] at ] in Painting Museum of ]
HamdiKenan.jpg|Landscape by Hamdi Kenan (19th century)
</gallery>

== The "1914 Generation" ==

* ] (1881–1937)


Contemporary trends that emphasize figure started to appear gradually in Turkey with the "1914 Generation". Figure and composition entered the Turkish painting for the first time in the Western sense with this generation. The ''İnas Sanayi-i Nefise Mektebi'' (School of Fine Arts for Girls) was founded for young women in 1914. ], and ] were the first instructors. Contemporary trends that emphasize figure started to appear gradually in Turkey with the "1914 Generation". Figure and composition entered the Turkish painting for the first time in the Western sense with this generation. The ''İnas Sanayi-i Nefise Mektebi'' (School of Fine Arts for Girls) was founded for young women in 1914. ], and ] were the first instructors.
A studio was built with army support in ], a district of Istanbul, with ]'s attempt in 1917. ]'s "''Progress''" and "''War Allegory''", ]'s "''Cannon Carrier''", ]'s "''Stone Breakers''" were the first examples of multi-figured and large dimensional compositions realised prior to and following this period.


A studio was built with army support in ], a district of Istanbul, with ]'s attempt in 1917. ]'s "''Progress''" and "''War Allegory''", ]'s "''Cannon Carrier''", {{ill|Mehmet Ruhi|tr|Mehmet Ruhi Arel}}'s "''Stone Breakers''" were the first examples of multi-figured and large dimensional compositions realised prior to and following this period.
===Müstakiller (The Independents)===
<gallery>
The young Turkish artists sent to Europe in 1926 came back inspired by contemporary trends such as ], ] and even ], still very influential in Europe, and they took a stand against the "1914 Generation" members. The important goals of this new group were, though not very absolute, pictorial design structure and linear foundation rather than impressionist colorism. The activities of the group, under the name of "Independent Painters and Sculptors' Association", expanded with the participation of new artists in 1929. The association's founders were mostly painters, such as:
File:Nazmi Ziya Güran - Şezlongda Pembeli Kadın , Lady in Pink on a Chaise Longue - Google Art Project.jpg|''Lady in Pink on a Chaise Longue'' (1904)
File:Mehmet Ruhi Arel.jpg|Model for a Male Body by Mehmet Ruhi Arel (1880–1931)
File:Portrait of Marashall Fevzi Çakmak.jpg|Portrait of Marashall Fevzi Çakmak by Hüseyin Avni Lifij
File:Namık İsmail.jpg|Woman Reclining on the Couch (Contemplation) by Namık İsmail (1917)
</gallery>


== The Independents (Müstakiller) ==
*] (1905-1938),
The young Turkish artists sent to Europe in 1926 came back inspired by contemporary trends such as ], ] and even ], still very influential in Europe, and they took a stand against the "1914 Generation" members. The important goals of this new group were, though not very absolute, pictorial design structure and linear foundation rather than impressionist colorism. The activities of the group, under the name of "Association of Independent Painters and Sculptors", expanded with the participation of new artists in 1928.<ref name=":0">{{Cite web|url=https://www.metmuseum.org/toah/hd/anrt/hd_anrt.htm|title=Heilbrunn Timeline of Art History: Art and Nationalism in Twentieth-Century Turkey|last=Sardar|first=Marika|date=2004-10-01|website=www.metmuseum.org|publisher=Institute of Fine Arts, New York University|via=The Met Museum|access-date=2019-02-07}}</ref> The association's founders were mostly painters, such as:
*] (1901-1932),
* ] (1905–1938)
*] (1898-1957), sculptor
* ] (1901–1932)
* ] (1898–1957), sculptor


<gallery>
==="The Group D"===
File:Hale Asaf Otoportre.JPG|Self-portrait of Hale Asaf (1905–1938)
While the "Müstakiller" (the Independents) opened the doors of contemporary trends in Turkey, we see a newly founding group which would give a greater support to these efforts and of which their effectiveness lasted until the 1950s: "Group D". Group members were:
NamıkIsmail.jpg|Portrait: Standing Woman (1927) by Namık Ismail (1890–1935)
*] (1913–1993)
CemilCem1.jpg|Details of Veli Efendi Meadow by ] (1882–1950)
CemilCem2.jpg|Details of Veli Efendi Meadow by Cemil Cem (1882–1950)
</gallery>

== During the 30s ==

<gallery>
File:Portraitofawoman.jpg|Portrait of a woman by Nevin Edhem Hamdi (1910–1931) The painter died of Tuberculosis at the age of 21.
</gallery>

== "The Group D" ==
While the ''Müstakiller'' (the "Independents") opened the doors of contemporary trends in Turkey, we see a newly founded group in 1933 which would give greater support to these efforts and of which their effectiveness lasted until the 1950s: ].<ref name=":0" />

Group members were:

* ] (1913–1993)
The most significant distinction of "Group D" from the "Independents" was perhaps that they had gathered around a certain aesthetics with solidarity in determination to defend the new trends they wanted to bring in. "Group D" had not been representative of any particular view. They were open to anything new except Impressionism. The star of the Çallı generation faded away gradually after the "Independents" and "Group D" members had started to work at the Academy. The most significant distinction of "Group D" from the "Independents" was perhaps that they had gathered around a certain aesthetics with solidarity in determination to defend the new trends they wanted to bring in. "Group D" had not been representative of any particular view. They were open to anything new except Impressionism. The star of the Çallı generation faded away gradually after the "Independents" and "Group D" members had started to work at the Academy.


*] (1899-1968) * ] (1899–1968)
*] (1911–1975) * ] (1911–1975)
Besides all this progress, from the beginning there had also been independent artists. Among these


Besides all this progress, from the beginning there had also been independent artists. Among these
*]


* ]
can be counted.
* ] (born 1927)
* ] (1901–1991)
* ] (1929–2013)
* {{ill|Turan Erol|tr}} (1927–2023)


<gallery>
Later on
File:Yahsi baraz.jpg|Yahşi Baraz in front of Burhan Doğançay's work
</gallery>
*] (born 1927)
*] (1901–1991)
*] (1929-2013)


== The Group Ten (On'lar Grubu 1947–1955 ) ==
took place in this trend.


The Group Ten was a group of painters founded by the students of Bedri Rahmi Eyüpoğlu, active between 1947 and 1955.
==="Yeniler Grubu" (The Newcomers Group) late 1930s===
formed by those who had a social realist understanding. After they opening of their "Harbour Paintings Exhibition", they had been remembered as the "Harbour Painters".
*] (1919–2003)


The group was established with the aim of bringing a unique style to Turkish painting and encouraging the public to art by blending the art of the West with Turkish motifs. Elif Naci's "The sources of Turkish painting should not be sought beyond the Alps, but at the foot of the Taurus Mountains." His word was the band's motto. At the entrance of the first exhibition held in the Academy's hall, the reproduction of a painting by El Greco on one side and the Anatolian rug embroidery on the other reveals the general tendency of the group.
===Other===


The Group Ten was founded in 1942 by ten students from Bedri Rahmi Eyüboğlu's workshop. These ten students were Ivy Stangali, Leyla Gamsız, Hulusi Sarptürk, Mustafa Esirkuş, Nedim Günsür, Fahrünnisa Sönmez, Turan Erol, Orhan Peker, Mehmet Pesen and Fikret Otyam. After the first exhibition, the artists who joined the group, whose members reached thirty within a year; Adnan Varince, Nevin Demiryol (Cokay), Perihan Ege, Özden Ergökçen, Naim Fakihoğlu, Fuat İgbelli, Remzi Raşa, Gönül Tiner, Hayrullah Tiner, İlhan Uğhan, Sedat Uslu, Cafer Yazdıran, Sema Akdağ, Necmi Başkurt, Cezmi Çelebioğlu, Aliye Kara, Osman Yenisey and Ilkay Üçkaya.
*]
*]


Established with the encouragement of Bedri Rahmi, they are the first group in Turkish painting to gather around a certain artistic understanding and try to create a common art style, and have gone far beyond a student movement and have gained an important place in the history of Turkish painting. Having held exhibitions for eight years, the group disbanded in 1955.

== The Newcomers Group (Yeniler Grubu) (late 1930s) ==

The Newcomers Group, (Yeniler Grubu) was formed by those who had a social realist understanding. After they opening of their "Harbour Paintings Exhibition", they had been remembered as the "Harbour Painters".

* ] (1919–2003)

=== Other ===
* {{ill|Abidin Elderoğlu|tr}}
* ]
* ]
* ]
* ]

<gallery>
File:Ercument Kalmik mosaic in 4.Levent Istanbul.jpg|Ercument Kalmik mosaic in 4.Levent Istanbul
</gallery>

== During the 50s ==
Turkish painting has continued to flourish since the 1960s, with an increasing rate of development, as evidenced by many new artists in many different styles. Turkish painting has continued to flourish since the 1960s, with an increasing rate of development, as evidenced by many new artists in many different styles.
*]
*]
*]
*]
*]
*]


== During the 60s ==
==Museums and collectors==
The ] Group
Institutions and persons with collections of important Turkish paintings:
Siyah Kalem group founded in 1960 in Ankara. They influenced by the 14th and early 15th century painter ].

* {{ill|İhsan Cemal Karaburçak|tr}}
* {{ill|Cemal Bingöl|tr}}
* {{ill|İsmail Altınok|tr}}
* ]
* ]
* {{ill|Lütfü Günay|tr}}
* ]
* ]

The 1968 Generation
* {{ill|Alaettin Aksoy|tr}}
* ]
* {{ill|Mehmet Güleryüz|es||tr}}
* ]
* ]
* ]
* {{ill|Utku Varlık|tr}}

<gallery>
ChimneysNedimGünsür.jpg|Chimneys (1960) by Nedim Günsür (1924–1994)
</gallery>

== During the 70s ==

<gallery>
Mağdenciler.jpg|Mağdenciler by Yılmaz Demirağ
</gallery>

== Social Realists ==
* ]
* {{ill|Cihat Aral|tr}}
* {{ill|Kasım Koçak|tr}}
* ]
* {{ill|Kemal İskender|tr|Ali Kemal İskender}}
* ]
* ]
* ]
* ]

== During the 70s and after ==

Predominant painters with Fantastic tendencies:
* {{ill|Balkan Naci İslimyeli|tr}}
* {{ill|Ergin İnan|tr}}
* {{ill|Burhan Uygur|tr}}

Contemporary Painters:

* ] (born 1970)
* ] (born 1957)
* ] (born 1961) writer, artist and documentary maker.
* ] (born 1969) contemporary conceptual artist and ].
* ]
* ]
* ] (born 1983) painter of data visualization, based in the United States.<ref>{{Cite web|url=http://tamarind.unm.edu/artists/view/379-hayal-pozanti|title=Artists: Hayal Pozanti|date=2014|website=Tamarind Institute of Lithography|access-date=2019-02-07}}</ref>


== See also ==
Museums:
* ]
* ]
* ], Istanbul Museum of Painting and Sculpture
* ]


* ]
Collectors and galleries:
* ]
*Nahit Kabakci<ref>{{cite web|url=http://www.humakabakcikoleksiyonu.com/en/index.cfm?page=press&ItemID=493 |title=Huma Kabakcı Koleksiyonu |publisher=Humakabakcikoleksiyonu.com |date= |accessdate=2010-11-07}}</ref><ref>{{cite web|url=http://www.yourartlinks.com/link_in_frame.php?link=869 |title=Link: Huma & Nahit Kabakci Collection Of Contemporary Arts |publisher=Yourartlinks.com |date= |accessdate=2010-11-07}}</ref>


==References== == References ==
{{reflist}} {{reflist}}


]
{{DEFAULTSORT:History of Modern Turkish Painting}}
]
]
] ]
]
]

Latest revision as of 08:44, 28 October 2024

Overview of the history of modern Turkish painting

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The history of modern Turkish painting can be traced back to the modernization efforts in the Ottoman Empire during the Tanzimat period, in the 19th century. This article contains a brief history of Turkish painters and art movements from the mid-19th century to the present.

Mid-19th century to early 20th century

Turkish painting, in the Western sense, developed actively starting from the mid-19th century.

The very first painting lessons were scheduled at the Mühendishane-i Berri-i Humayun (Military School of Engineering) in 1793 mostly for technical purposes. Artists who formed the 19th-century art milieu were often from Ottoman military schools. Additionally, local Christian and "Levantine" artists, as well as foreign painters who lived in Istanbul and other parts of the Ottoman Empire, contributed to the art milieu in 19th century Turkey. Some Turkish artists, such as Osman Hamdi Bey, Şeker Ahmet Paşa, Süleyman Seyyid and Halil Paşa were educated in arts abroad. Others, such as Hüseyin Zekai Paşa, Hoca Ali Riza, and Ahmet Ziya Akbulut were educated within the country.

The "1914 Generation"

Contemporary trends that emphasize figure started to appear gradually in Turkey with the "1914 Generation". Figure and composition entered the Turkish painting for the first time in the Western sense with this generation. The İnas Sanayi-i Nefise Mektebi (School of Fine Arts for Girls) was founded for young women in 1914. Mihri Müşfik Hanım, and Feyhaman Duran were the first instructors.

A studio was built with army support in Şişli, a district of Istanbul, with Celal Esat Arseven's attempt in 1917. Hüseyin Avni Lifij's "Progress" and "War Allegory", İbrahim Çallı's "Cannon Carrier", Mehmet Ruhi [tr]'s "Stone Breakers" were the first examples of multi-figured and large dimensional compositions realised prior to and following this period.

  • Lady in Pink on a Chaise Longue (1904) Lady in Pink on a Chaise Longue (1904)
  • Model for a Male Body by Mehmet Ruhi Arel (1880–1931) Model for a Male Body by Mehmet Ruhi Arel (1880–1931)
  • Portrait of Marashall Fevzi Çakmak by Hüseyin Avni Lifij Portrait of Marashall Fevzi Çakmak by Hüseyin Avni Lifij
  • Woman Reclining on the Couch (Contemplation) by Namık İsmail (1917) Woman Reclining on the Couch (Contemplation) by Namık İsmail (1917)

The Independents (Müstakiller)

The young Turkish artists sent to Europe in 1926 came back inspired by contemporary trends such as Fauvism, Cubism and even Expressionism, still very influential in Europe, and they took a stand against the "1914 Generation" members. The important goals of this new group were, though not very absolute, pictorial design structure and linear foundation rather than impressionist colorism. The activities of the group, under the name of "Association of Independent Painters and Sculptors", expanded with the participation of new artists in 1928. The association's founders were mostly painters, such as:

  • Self-portrait of Hale Asaf (1905–1938) Self-portrait of Hale Asaf (1905–1938)
  • Portrait: Standing Woman (1927) by Namık Ismail (1890–1935) Portrait: Standing Woman (1927) by Namık Ismail (1890–1935)
  • Details of Veli Efendi Meadow by Cemil Cem (1882–1950) Details of Veli Efendi Meadow by Cemil Cem (1882–1950)
  • Details of Veli Efendi Meadow by Cemil Cem (1882–1950) Details of Veli Efendi Meadow by Cemil Cem (1882–1950)

During the 30s

  • Portrait of a woman by Nevin Edhem Hamdi (1910–1931) The painter died of Tuberculosis at the age of 21. Portrait of a woman by Nevin Edhem Hamdi (1910–1931) The painter died of Tuberculosis at the age of 21.

"The Group D"

While the Müstakiller (the "Independents") opened the doors of contemporary trends in Turkey, we see a newly founded group in 1933 which would give greater support to these efforts and of which their effectiveness lasted until the 1950s: "Group D".

Group members were:

The most significant distinction of "Group D" from the "Independents" was perhaps that they had gathered around a certain aesthetics with solidarity in determination to defend the new trends they wanted to bring in. "Group D" had not been representative of any particular view. They were open to anything new except Impressionism. The star of the Çallı generation faded away gradually after the "Independents" and "Group D" members had started to work at the Academy.

Besides all this progress, from the beginning there had also been independent artists. Among these

  • Yahşi Baraz in front of Burhan Doğançay's work Yahşi Baraz in front of Burhan Doğançay's work

The Group Ten (On'lar Grubu 1947–1955 )

The Group Ten was a group of painters founded by the students of Bedri Rahmi Eyüpoğlu, active between 1947 and 1955.

The group was established with the aim of bringing a unique style to Turkish painting and encouraging the public to art by blending the art of the West with Turkish motifs. Elif Naci's "The sources of Turkish painting should not be sought beyond the Alps, but at the foot of the Taurus Mountains." His word was the band's motto. At the entrance of the first exhibition held in the Academy's hall, the reproduction of a painting by El Greco on one side and the Anatolian rug embroidery on the other reveals the general tendency of the group.

The Group Ten was founded in 1942 by ten students from Bedri Rahmi Eyüboğlu's workshop. These ten students were Ivy Stangali, Leyla Gamsız, Hulusi Sarptürk, Mustafa Esirkuş, Nedim Günsür, Fahrünnisa Sönmez, Turan Erol, Orhan Peker, Mehmet Pesen and Fikret Otyam. After the first exhibition, the artists who joined the group, whose members reached thirty within a year; Adnan Varince, Nevin Demiryol (Cokay), Perihan Ege, Özden Ergökçen, Naim Fakihoğlu, Fuat İgbelli, Remzi Raşa, Gönül Tiner, Hayrullah Tiner, İlhan Uğhan, Sedat Uslu, Cafer Yazdıran, Sema Akdağ, Necmi Başkurt, Cezmi Çelebioğlu, Aliye Kara, Osman Yenisey and Ilkay Üçkaya.

Established with the encouragement of Bedri Rahmi, they are the first group in Turkish painting to gather around a certain artistic understanding and try to create a common art style, and have gone far beyond a student movement and have gained an important place in the history of Turkish painting. Having held exhibitions for eight years, the group disbanded in 1955.

The Newcomers Group (Yeniler Grubu) (late 1930s)

The Newcomers Group, (Yeniler Grubu) was formed by those who had a social realist understanding. After they opening of their "Harbour Paintings Exhibition", they had been remembered as the "Harbour Painters".

Other

  • Ercument Kalmik mosaic in 4.Levent Istanbul Ercument Kalmik mosaic in 4.Levent Istanbul

During the 50s

Turkish painting has continued to flourish since the 1960s, with an increasing rate of development, as evidenced by many new artists in many different styles.

During the 60s

The Siyah Qalam Group Siyah Kalem group founded in 1960 in Ankara. They influenced by the 14th and early 15th century painter Siyah Qalam.

The 1968 Generation

  • Chimneys (1960) by Nedim Günsür (1924–1994) Chimneys (1960) by Nedim Günsür (1924–1994)

During the 70s

  • Mağdenciler by Yılmaz Demirağ Mağdenciler by Yılmaz Demirağ

Social Realists

During the 70s and after

Predominant painters with Fantastic tendencies:

Contemporary Painters:

See also

References

  1. ^ Sardar, Marika (1 October 2004). "Heilbrunn Timeline of Art History: Art and Nationalism in Twentieth-Century Turkey". www.metmuseum.org. Institute of Fine Arts, New York University. Retrieved 7 February 2019 – via The Met Museum.
  2. "Artists: Hayal Pozanti". Tamarind Institute of Lithography. 2014. Retrieved 7 February 2019.
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