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“ Abidin Dino Ve Eller ”
“ ABİDİN DİNO VE ELLER ” Doç. şemsettin EDEER* ÖZET Abidin Dino, sanatta çok yönlülüğe inanmış, Çağdaş Türk Resim sanatının önemli isimleri ara- sında yer alır. Onun sanatı, düşünmeye ve duyguların değerlendirilmesi üzerine kuruludur. Belli temalar çerçevesinde birbirinden çok farklı tekniklere yönelmiş ve bu çalışmalarını birbirinden farklı alanlarda gerçekleştirmiştir. Bu araştırma, Abidin Dino’nun sanata bakışı ve elleri konu etti- ği yapıtlarının Türk Resim Sanatındaki yeri ve önemini ortaya koymaya yöneliktir. Bu kapsamda konunun aydınlatılabilmesi ve daha anlaşılır kılınabilmesi için, yazarların, sanatçıların, araştır- macıların ve sanatçının kendi görüşlerine yer verilmiştir. Anahtar Kelimeler: Abidin Dino, Eller, D Grubu, Yeniler Grubu, Çizgi. * Anadolu Üniversitesi, Eğitim Fakültesi, Güzel Sanatlar Eğitimi Bölümü, Eskişehir / TÜRKİYE, [email protected] SANAT & TASARIM DERGİSİ 149 “ ABIDIN DINO AND HANDS “ Assoc. Prof. Şemsettin EDEER* ABSTRACT Abidin Dino, who believed in versatility in art, is among the leading artists of the contemporary Turkish art of painting. His art is based on thinking and the evaluation of feelings. He used tech- niques that are very different from each other within certain themes and performed these works in different fields. This study aims to reveal the role and importance of Abidin Dino’s view on art and his works of art dealing with hands in Turkish art of painting. Within this framework, in order to clarify the subject and to make it more understandable, it was aimed to include writers’, artists’, researchers’, and the artist’s own views in the study. Keywords: Abidin Dino, Hands, Group D, Group Yeniler, Drawing * Anadolu University, Faculty of Education, Fine Arts Department, Eskişehir / TURKEY, [email protected] 150 ANADOLU ÜNİVERSİTESİ GİRİŞ 23 Mart 1913’te varlıklı bir ailenin son çocuğu olarak İstanbul’da doğan Abidin Dino res- samlığının yanı sıra karikatürist, şair, yazar ve sinemacı gibi sanatın neredeyse tüm alanlarında yapıtlar üretmiş çok yönlü bir sanatçı olarak karşımıza çıkmaktadır. -
Resme Bakan Yazılar Galeri Nev Resme Bakan © İlk Baskı, 2004 © Genişletilmiş İkinci Baskı, Aralık 2009 Yazılar I ISBN 975-7529-19-2 -
Resme Bakan Yazılar Galeri Nev Resme Bakan © İlk Baskı, 2004 © Genişletilmiş İkinci Baskı, Aralık 2009 Yazılar I ISBN 975-7529-19-2 - - . Kapak EDİTÖR Galeri Nev, Mayıs 1984 İlk Sergi Deniz Artun Abidin Dino “El” Metinlerin imlası yazarların kaleme aldığı biçimiyle bırakılmıştır. Teknik Hazırlık İdeaKitap Baskı Ajanstürk İçindekiler Önsöz Ali Artun, “Nev Yazılar” 9 Arif Dino Abidin Dino, “Arif Dino: Yüz” 11 Rasih Nuri İleri, “Arif Dino: Yüz” 19 Âbidin Elderoğlu Âbidin Elderoğlu, “Benim Sanatım” 23 Jale Erzen, “Abidin Elderoğlu Bir Dünya Ressamı” 25 Hakkı Anlı Necmi Sönmez, “FlRTINA VE HEYECAN: Hakkı Anlı’nın Resim Serüveni Üzerine Düşünceler” 35 Ali Artun, “Hakkı Anlı ve Bir Yerel Modernizm Zamanı” 55 Abidin Dino Abidin Dino, “El” 63 Ferit Edgü, “Resmin Anları” 67 Yaşar Kemal, “Anadolu Çiçekleri ve Dinonun Çiçeklemesi” 77 Abidin Dino, “Çernobil için ‘Çernobal’” 83 Abidin Dino, “Biçimden Öte” 89 Ali Artun, “Sunuş” 91 Ferit Edgü, “Güzin’in Abidinleri” 94 Rasih Nuri İleri, “Gerilla Desenleri” 96 Nejad Devrim Mengü Ertel Nejad Devrim, “Haydi, Haydi, Haydi Yeter Bitsin Bu Artık / Oust” 103 Hilmi Yavuz, “Mengü’nün ‘Yüzler’i” 211 Sefa Sağlam, “Nejad” 107 Ferit Edgü, “Nejad” 112 Erol Akyavaş Lydia Harambourg, “Nejad” 117 Muhammed Arkoun, “Miraçname” 214 Jale Erzen, “An Archeology of Human Drama” 217 İlhan Koman Bilge Karasu, “Çekiden Erince Giden Bir Yol Var mı ki?” 221 Abidin Dino, “Kim Bu İlhan Koman?” 131 Alexander Borofsky, “İkonoklastlar için İkonalar” 226 Semih Kaplanoğlu, “İkonoklastlar için İkonalar” 230 Kemal Bastuji Ali Artun, “Bir Ömrün -
Hans Hartung (1904-1989) Abstraction: a Human Language
de Sarthe Gallery is pleased to announce Hans Hartung (1904-1989) Abstraction: A Human Language Opening: 4:30pm - 6:30pm, 25 November 2017 Duration: 25 November 2017 - 13 January 2018 Address: 20/F Global Trade Square, 21 Wong Chuk Hang Road, Wong Chuk Hang, Hong Kong de Sarthe Gallery is pleased to announce its second exhibition for Hans Hartung titled Abstraction: A Human Language. The show opens on November 25th, and will continue through January 13th, 2018. The exhibition will survey a selection of works from the 40s to the very end of his life in 80s. As early as 1945 Hans Hartung was regarded as one of the most important abstract expressionists. He was invited to the first Documenta at Kassel, in 1955 and was awarded the International Prize at the Venice Biennale in 1960 and had a major exhibition of his paintings in 1975 at the Metropolitan Museum of Art in New York. Hartung’s works are in the collections of major museums worldwide including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Solomon R. Guggenheim Museum, New York, Tate Gallery, London, Centre national d’art et de culture Georges Pompidou, Paris and the Stedelijk Museum, Amsterdam. His prominent solo exhibitions include: Hartung in China, Palace of Fine Arts, Beijing, China; National Museum, Nanjing, China (2005); Hans Hartung: Spontaneous Calculus, Pictures, Photographs, Film 1922-1989, Museum der Bildenden Künste, Leipzig, Germany; Kunsthalle Kiel, Kiel, Germany (2007-08); Hans Hartung: Essential, Circula de Bellas Artes, Madrid, Spain (2008); -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
Hans Hartung 1904 Born in Leipzig, Germany 1989 Died in Antibtes, France
Hans Hartung 1904 Born in Leipzig, Germany 1989 Died in Antibtes, France 1924 Studied in the University of Leipzig on Philosophy and Art History 1930 Studied in Fine Arts Academy of Dresden Solo Exhibitions 2017-2018 Hans Hartung (1904-1989) Abstraction: A Human Language, de Sarthe Gallery, Hong Kong Hans Hartung - Polittici, Galleria Nazionale dell’Umbria, Perugia, Italy Hartung et les peintres lyriques, Fondation Leclerc, Landerneau, France 2016 Beau Geste: Hans Hartung, Painter and Legionnaire, Museum of the Foreign Legion and Art Center Les Pénitents Noirs, Aubagne, France Hans Hartung and Photography, Museum of contemporary art, Siegen, Germany Hans Hartung N° 2, Setareh Gallery, Düsseldorf, catalog by Setareh Gallery, Germany 2014 Hans Hartung: L’Atelier du Geste, Centro Cultural Banco do Brasil, Sao Paulo, Brazil Art Informel in Paris, Lee Ungno Museum, Daejon, South Korea 2013 Hans Hartung, l ’ Opera Grafica, Istituto Nazionale per la Graca, Rome, Italy 2012 Hans Hartung Paintings 1960’s -1970’s, de Sarthe Gallery, Hong Kong 2011 Les Sujets de l’Abstraction : Simon Hantaï, Gérard Schneider, Georges Mathieu, Pierre Soulages, Hans Hartung..., Musée Rath, Geneva, Switzerland The Art of Writing: Cy Twombly, André Masson, Georges Mathieu, Hans Hartung..., Artforum - Wiesbaden, Wiesbaden, Germany Hans Hartung, The Final Years 1980-1989, Timothy Taylor Gallery, London, England 2010-2011 Hans Hartung, Prints, Staatliche Museen zu Berlin, Berlin, Germany; Bibliothèque Nationale de France, Musée d'Art et d'Histoire de Genève, France 2010 Hans Hartung : The Last Paintings 1989, Cheim & Read, New York, USA 2009 Hans Hartung: The Last Work, Caserma Cosenz, Gaeta, Italy 2008 Hans Hartung: esencial, Círculo de Bellas Artes, Madrid, Spain Hans Hartung: Gesture and Method, Fondation Marguerite et Aimé Maeght, Saint- Paul-de-Vence, France 2007-2008 Hans Hartung: Spontaneous Calculation. -
HANS HARTUNG HANS HARTUNG (1904, Leipzig, DE – 1989, Antibes, FR)
HANS HARTUNG HANS HARTUNG (1904, Leipzig, DE – 1989, Antibes, FR) A s a child growing up in the German city of Leipzig, Hans Hartung (1904- 1989) was terrified of thunderstorms. He used to fill notebook after notebook with zig-zag lines, in the hope they’d prevent lightning from harming him. Years later, when Hartung had established himself as one of the world’s top artists, he claimed his interest in abstrac- tion could be traced back to those early drawings of electric flashes across the page.It becomes a vital influence not only on the École de Paris but also later on the arts in Germany. Sadly, his zig-zags don’t really feature in a major retrospective of the artist’s work, Hans Hartung: La fabrique du geste, which opened at the City of Paris Museum of Modern Art this week. Hartung made his name as a pioneer of gestural abstraction, a style en vogue on both sides of the Atlantic after the Second World War. In the United States it went by the name of Abstract Expressionism, in Paris by that of Art Informel or Tachisme (‘tache’ being the French word for spot or stain). HANS HARTUNG T1989-U26 1989 Acrylic on canvas 195 x 130 cm I 76 3/4 x 51 1/4 in. HHAR/M 108 HANS HARTUNG Provenance Estate Hans Hartung Private collection, France Exhibition‘s History Musee d‘Art Moderne de la Ville de Paris Retrospective La fabrique du geste 2019-2020 Hans Hartung La fabrique du geste From 11th October 2019 to 1st March 2020 On the occasion of its re-opening after extensive renovation work, the Museum of Modern Art presents a retrospective of work by the painter Hans Hartung (1904-1989). -
Turkish Plastic Arts
Turkish Plastic Arts by Ayla ERSOY REPUBLIC OF TURKEY MINISTRY OF CULTURE AND TOURISM PUBLICATIONS © Republic of Turkey Ministry of Culture and Tourism General Directorate of Libraries and Publications 3162 Handbook Series 3 ISBN: 978-975-17-3372-6 www.kulturturizm.gov.tr e-mail: [email protected] Ersoy, Ayla Turkish plastic arts / Ayla Ersoy.- Second Ed. Ankara: Ministry of Culture and Tourism, 2009. 200 p.: col. ill.; 20 cm.- (Ministry of Culture and Tourism Publications; 3162.Handbook Series of General Directorate of Libraries and Publications: 3) ISBN: 978-975-17-3372-6 I. title. II. Series. 730,09561 Cover Picture Hoca Ali Rıza, İstambol voyage with boat Printed by Fersa Ofset Baskı Tesisleri Tel: 0 312 386 17 00 Fax: 0 312 386 17 04 www.fersaofset.com First Edition Print run: 3000. Printed in Ankara in 2008. Second Edition Print run: 3000. Printed in Ankara in 2009. *Ayla Ersoy is professor at Dogus University, Faculty of Fine Arts and Design. TABLE OF CONTENTS INTRODUCTION 5 Sources of Turkish Plastic Arts 5 Westernization Efforts 10 Sultans’ Interest in Arts in the Westernization Period 14 I ART OF PAINTING 18 The Primitives 18 Painters with Military Background 20 Ottoman Art Milieu in the Beginning of the 20th Century. 31 1914 Generation 37 Galatasaray Exhibitions 42 Şişli Atelier 43 The First Decade of the Republic 44 Independent Painters and Sculptors Association 48 The Group “D” 59 The Newcomers Group 74 The Tens Group 79 Towards Abstract Art 88 Calligraphy-Originated Painters 90 Artists of Geometrical Non-Figurative -
Who's Who in Politics in Turkey
WHO’S WHO IN POLITICS IN TURKEY Sarıdemir Mah. Ragıp Gümüşpala Cad. No: 10 34134 Eminönü/İstanbul Tel: (0212) 522 02 02 - Faks: (0212) 513 54 00 www.tarihvakfi.org.tr - [email protected] © Tarih Vakfı Yayınları, 2019 WHO’S WHO IN POLITICS IN TURKEY PROJECT Project Coordinators İsmet Akça, Barış Alp Özden Editors İsmet Akça, Barış Alp Özden Authors Süreyya Algül, Aslı Aydemir, Gökhan Demir, Ali Yalçın Göymen, Erhan Keleşoğlu, Canan Özbey, Baran Alp Uncu Translation Bilge Güler Proofreading in English Mark David Wyers Book Design Aşkın Yücel Seçkin Cover Design Aşkın Yücel Seçkin Printing Yıkılmazlar Basın Yayın Prom. ve Kağıt San. Tic. Ltd. Şti. Evren Mahallesi, Gülbahar Cd. 62/C, 34212 Bağcılar/İstanbull Tel: (0212) 630 64 73 Registered Publisher: 12102 Registered Printer: 11965 First Edition: İstanbul, 2019 ISBN Who’s Who in Politics in Turkey Project has been carried out with the coordination by the History Foundation and the contribution of Heinrich Böll Foundation Turkey Representation. WHO’S WHO IN POLITICS IN TURKEY —EDITORS İSMET AKÇA - BARIŞ ALP ÖZDEN AUTHORS SÜREYYA ALGÜL - ASLI AYDEMİR - GÖKHAN DEMİR ALİ YALÇIN GÖYMEN - ERHAN KELEŞOĞLU CANAN ÖZBEY - BARAN ALP UNCU TARİH VAKFI YAYINLARI Table of Contents i Foreword 1 Abdi İpekçi 3 Abdülkadir Aksu 6 Abdullah Çatlı 8 Abdullah Gül 11 Abdullah Öcalan 14 Abdüllatif Şener 16 Adnan Menderes 19 Ahmet Altan 21 Ahmet Davutoğlu 24 Ahmet Necdet Sezer 26 Ahmet Şık 28 Ahmet Taner Kışlalı 30 Ahmet Türk 32 Akın Birdal 34 Alaattin Çakıcı 36 Ali Babacan 38 Alparslan Türkeş 41 Arzu Çerkezoğlu -
The Role of the Arts in Relations Between Soviet Russia and the Republic Of
JOURNAL OF SOCIAL EDUCATION AND INTERDISCIPLINARY SCIENCE UNIVERSITY "FEHMI AGANI" GJAKOVA The Role of the Arts in Relations between Soviet Russia and the Republic of Turkey 1922-1944 Hasan KARACAN Cyprus Science University, Tourism Faculty, North Cyprus [email protected] Abstract: In the period of their modernization, the USSR (Soviet Russia) and the newly formed Republic of Turkey used cultural relations to promote good relations between their countries, which in our twenty-first century translates to the use of “soft power.” In the period of 1922 to 1944, cultural exchange translated to mutual help with shaping new cultures. An awareness of uses and necessary restrictions regarding propaganda would emerge. According to the correspondence between the wives of Soviet politician and educationalist Lev Borisovich Kamenev and Turkish president Mustafa Kemal Atatürk, the Russian-Turkish exchange started with cinema and theater, and progressed with other forms of art, especially music. The introduction of Marxist literary theory from the Russian side would expand to a whole new aesthetic throughout continental Europe, and eventually go full circle back to the Middle East in the modern trend towards mainstream literature. Therefore, this particular correspondence documenting these first cultural exchanges is of great interest. The author of the article has worked from both Russian and Turkish records, translating for the benefit of our English readers. Keywords: Soviet Russia, Republic of Turkey, good relations, performing arts, soft power, Marxist literary theory 1. Introduction Olga Kameneva,1 the wife of the prominent Soviet politician Lev Borisovich Kamenev,2 who would later become the head of the VOKS organization (All-Union Society for Cultural Relations with Foreign Countries) sent a letter to Mustafa Kemal Pasha's wife Latife Hanım on May 14, 1924;3 he gave her information about the arts and the situation of women in the Soviet Union. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
The Poetics of Space in Nâzım Hikmet's Poem, Straw-Blondi
Linguistics and Literature Studies 8(1): 1-7, 2020 http://www.hrpub.org DOI: 10.13189/lls.2020.080101 The Poetics of Space in Nâzım Hikmet's Poem, i Straw-Blond Efe Duyan Department of Architecture, Mimar Sinan Fine Arts University, Turkey Received August 27, 2019; Revised November 25, 2019; Accepted December 4, 2019 Copyright©2020 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract This study investigates the understanding of the space will also be mentioned, as the spaces and places space in Nâzım Hikmet's poem Straw-Blond and the are not merely containers of the storyline but also act as the central role it plays in the composition of the text. means of representation. Straw-Blond represents a diversion in the oeuvre of Hikmet, Secondly, a framework of Hikmet's poetry will be a politically controversial and arguably still the most provided to denote the key features of his poem beloved poet in Turkey, who is well-known for his realistic Staw-Blond. On the one hand, as an avant-garde artist from approach and linear narration. A train journey in the 1920s on, Hikmet's attitude to reinvent himself is to be background, the text includes descriptions of several cities noted as it is this reflex that paved the way to a poem as and places while dealing with the idea of loss in shapes of distinctive as Straw-blond. His poetry, in general, is easy to separation, exile, and aging. -
HANS HARTUNG Painting – Gesture – Liberation
HANS HARTUNG Painting – Gesture – Liberation 7 December 2013 – 31 January 2014 Opening 6 December 2013, 7 pm During nearly two months Setareh Gallery will give an insight into the oeuvre of the artist Hans Hartung (*1904, Leipzig - †1989, Antibes). Clearly, Hartung belongs to one of the great names of the Informel. Gestural painting and Golden Ratio, Tachism and composition, freedom and calculated action; all these seemingly diametric terms match the artist’s creative process. Werner Haftmann says about Hartung in his essay The great masters of the Lyrical Abstraction and the Informel that he transforms psychomotoric energies into formal processes. The well-known anecdote about Hartungs reaction to a thunderstorm as a child, illustrates this vividly. To overcome his fear of thunderstorms, the child tries to become equal with thunder and lightning through fast streaks on paper: I ask myself, if I wasn‘t more scared of the noise of the thunder than of the actual lightning, which prece- ded it. ... I wanted to see. And even more: I wanted to draw. In one of my notebooks I caught the quivering flashes of lightning on the fly. Already before the thunderclap hit in, the zigzag lines needed to be on the paper. This way, I tamed the lightning. Besides his studies at the academy in Leipzig, Hartung attends lectures at the philosophical faculty; art history, psychology and philosophy become his elective courses. 1925 he meets Kandinsky, 1926 he attends the International Art Exhibition in Dresden, which makes a big impression on him. His in- tellectual curiosity leads him to Paris, where he continues his studies in painting.