{"id":115799,"date":"2012-08-06T14:38:33","date_gmt":"2012-08-06T11:38:33","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=115799"},"modified":"2019-03-28T10:41:31","modified_gmt":"2019-03-28T07:41:31","slug":"edward-lucie-smith-tercihlerim-bunlar-115799","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/edward-lucie-smith-tercihlerim-bunlar-115799\/","title":{"rendered":"Edward Lucie-Smith: \u201cTercihlerim bunlar\u201d"},"content":{"rendered":"

\"\"<\/a><\/p>\n

NationalTurk yorumcusu, akademisyen \u00d6zkan Ero\u011flu\u2019nun \u2018Edward Lucie-Smith: \u201cTercihlerim bunlar\u2019 ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131;<\/h1>\n

Edward Lucie-Smith\u2019in \u201cLives of the Great Modern Artists\u201d isimli kitab\u0131ndan (1) yola \u00e7\u0131karak, bu yay\u0131nda ele al\u0131nan yirminci y\u00fczy\u0131lda modern sanata uygulanan tercihler \u00fczerine bir metni a\u015fa\u011f\u0131da sunuyoruz.<\/p>\n

Lucie-Smith, 1933 do\u011fumlu ve bir \u0130ngiliz sanat ele\u015ftirmeni olarak s\u00f6z konusu kitab\u0131n sanat\u00e7\u0131 se\u00e7kisini yapm\u0131\u015f ve metinlerini kaleme alm\u0131\u015f. Yirminci y\u00fczy\u0131l i\u00e7in y\u00fczbe\u015f modern sanat\u00e7\u0131 belirleyerek, bu sanat\u00e7\u0131lar\u0131n \u00f6zellikle ya\u015famlar\u0131ndan detaylar veren ve tart\u0131\u015fma yaratan kitab\u0131n giri\u015f yaz\u0131s\u0131nda, benzer bir eski \u00e7al\u0131\u015fmadan, R\u00f6nesans d\u00f6nemi sanat\u00e7\u0131lar\u0131n\u0131 kendine g\u00f6re se\u00e7erek ele alan Giorgio Vasari\u2019nin \u201cLives of the Artist\u201dinden de etkilendi\u011fini a\u00e7\u0131k\u00e7a dile getirmektedir. Her ne kadar kitap, sanat ele\u015ftirisi alan\u0131ndan \u00e7\u0131km\u0131\u015f ve sanat tarihinin ilgi alan\u0131na girmi\u015f gibi g\u00f6r\u00fcnse de, asl\u0131nda g\u00f6sterdi\u011fi tutum gere\u011fi, yirminci y\u00fczy\u0131l modern sanat\u0131n\u0131n bir ele\u015ftirmen g\u00f6z\u00fcyle ele al\u0131nan se\u00e7kisini, yani bir ele\u015ftirmenin \u201ctercihlerim bunlard\u0131r\u201d yarg\u0131s\u0131n\u0131 g\u00f6stermesi a\u00e7\u0131s\u0131ndan b\u00fcy\u00fck \u00f6nem ta\u015f\u0131yor. Kitab\u0131n i\u00e7eri\u011fini belirleyen planda hem bir taraftan yirmibe\u015f ba\u015fl\u0131k\/b\u00f6l\u00fcmlerin, sanat tarihsel ve bilinen ba\u015fl\u0131klar olmas\u0131, hem de sanat\u00e7\u0131 ya\u015famlar\u0131na yer verilmesi, as\u0131l amac\u0131n-ele\u015ftirinin \u00f6rt\u00fclerek sunuldu\u011funu g\u00f6stermektedir. Burada sunulan sanat\u00e7\u0131 isimleri, Lucie-Smith\u2019in \u201cyarat\u0131c\u0131 sanat\u00e7\u0131lar\u0131\u201dd\u0131r. Kan\u0131mca en \u00f6nemlisi de bu kitapta bunun anla\u015f\u0131l\u0131p, g\u00f6r\u00fclmesidir. Ya\u015fam \u00f6yk\u00fcs\u00fc olay\u0131 kitapta yan ama\u00e7 olarak, ele\u015ftirmeni gelecek oklardan koruyan bir kalkan iken, ba\u015fl\u0131klar ve teker teker yap\u0131lan sanat\u00e7\u0131 tespitleriyse as\u0131l amac\u0131 ortaya koymaktad\u0131r.<\/p>\n

\"\"<\/a>Ba\u015fl\u0131k 1: Modern\u2019e do\u011fru<\/h2>\n

Bu ba\u015fl\u0131kta, sadece Norve\u00e7li Edvard Munch (1863-1944) ve Alman K\u00e4the Kollwitz\u2019in (1867-1945) de\u011ferlendirildi\u011fini g\u00f6r\u00fcyoruz. Biri romantik, di\u011feri ger\u00e7ek\u00e7i e\u011filimlere sahip iki sanat\u00e7\u0131 s\u00f6z konusu edilmi\u015f durumda. Yirminci y\u00fczy\u0131ldaki modern sanat\u0131 buradan ba\u015flatmak? Bu durum ilgin\u00e7 olarak kar\u015f\u0131lanabilir. Munch, bir d\u0131\u015favurumcu; hem bi\u00e7im, hem de i\u00e7erik diliyle. Kollwitz ise genel olarak bir sosyal ger\u00e7ek\u00e7i. Ruhsall\u0131k olgusunun bu ba\u015fl\u0131kta temel etken olarak de\u011ferlendirildi\u011fiyse \u00e7ok a\u00e7\u0131k. Yirminci y\u00fczy\u0131l\u0131n sanat\u0131n\u0131 alg\u0131lamada bilindi\u011fi \u00fczere \u201cruhsal\/tinsel\u201d boyutun \u00f6nemi \u00e7ok b\u00fcy\u00fck. \u00c7\u00fcnk\u00fc bu kavram, t\u00fcmden her \u015feyi ve \u00f6zellikle yirminci y\u00fczy\u0131lda hayli yayg\u0131n olan ve t\u00fcrl\u00fc vol\u00fcml\u00fc hallerini g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u201csoyutlama\u201d ve \u201cdeformasyon\u201d olgular\u0131n\u0131 tetikleyen ve zenginle\u015ftiren yegane de\u011fer. Ruh\/tin konusunun teorik boyutta irdelenmesi ve kamuoyuyla payla\u015f\u0131m\u0131n\u0131 sa\u011flayan \u201c\u00dcber die geistige in der Kunst\/Sanatta ruhsall\u0131k \u00fcst\u00fcne\u201d isimli Kandinsky\u2019e ait kitap, bilindi\u011fi \u00fczere 1911\u2019de yay\u0131mlanm\u0131\u015ft\u0131r. \u00dclkemizde ise ruhsall\u0131k konusu, ilk defa 1912\u2019de bir yaz\u0131s\u0131 i\u00e7inde \u201cHalet-i Ruhiye\u201d tan\u0131m\u0131n\u0131n kullan\u0131lmas\u0131yla resim sanat\u00e7\u0131m\u0131z H\u00fcseyin Avni Lifij (1889-1927) ile ele al\u0131nm\u0131\u015ft\u0131r. (2) Bu, kan\u0131mca zamanda\u015f bir \u00f6rt\u00fc\u015fme de oldu\u011fundan d\u00fcnya ve T\u00fcrk sanat\u0131n\u0131n ayn\u0131 anda, ayn\u0131 \u015feylerle me\u015fgul oldu\u011fu konusunun da \u00f6nemine dikkat \u00e7ekmektedir. O zaman bu durumda, k\u0131s\u0131tl\u0131 bir geri plan\u0131 olan T\u00fcrk plastik sanatlar\u0131n\u0131n bu belgelenmi\u015f vurgusu, modern sanat felsefesinin H\u00fcseyin Avni Lifij ile ba\u015flad\u0131\u011f\u0131n\u0131n bir g\u00f6stergesi neden olmas\u0131n?<\/p>\n

\"\"<\/a>2. Ba\u015fl\u0131k: Fov\u2019lar<\/h3>\n

Burada \u00fc\u00e7 Frans\u0131z sanat\u00e7\u0131n\u0131n; Henri Matisse (1869-1954), Maurice de Vlaminck (1876-1958) ve Andr\u00e9 Derain\u2019in (1880-1954) ele al\u0131nd\u0131\u011f\u0131 dikkat \u00e7ekiyor. Fov\u2019lar\u0131n Akdenizli birer \u201cromantik\u201d olduklar\u0131n\u0131 belirtmeliyiz. T\u00fcpten \u00e7\u0131km\u0131\u015f boyan\u0131n ham bir \u00fcslupla kullan\u0131lmas\u0131, savruk ve h\u0131zl\u0131 boya s\u00fcr\u00fc\u015flerinin s\u0131kl\u0131kla de\u011ferlendirilmesi, burada ismi ge\u00e7en sanat\u00e7\u0131lar\u0131n da en belirgin plastik \u00f6zellikleridir.<\/p>\n

3. Ba\u015fl\u0131k: Nabiler<\/h4>\n

Burada da Frans\u0131z iki sanat\u00e7\u0131ya dikkat \u00e7ekiliyor: Pierre Bonnard (1867-1947) ve Edouard Vuillard (1868-1940). \u0130kisinin de ortak \u00f6zelli\u011fi, zamanlar\u0131n\u0131n izlenimci sanat anlay\u0131\u015f\u0131n\u0131, kendilerine \u00f6zg\u00fc baz\u0131 \u00fcslup manevralar\u0131yla de\u011fi\u015ftirip, d\u00f6n\u00fc\u015ft\u00fcrebilmi\u015f olmalar\u0131d\u0131r.<\/p>\n

4. Ba\u015fl\u0131k: K\u00fcbizm<\/h5>\n

Yirminci y\u00fczy\u0131l\u0131n modern sanat ataklar\u0131 i\u00e7inde k\u00fcbizm \u00f6nemli bir d\u00f6n\u00fc\u015f\u00fcme neden olmu\u015ftur. Burada da Frans\u0131z Fernand L\u00e9ger (1881-1955), \u0130spanyol Pablo Picasso (1881-1973), Frans\u0131z Georges Braque (1882-1963) ve Robert (1885-1941) – Sonia Delaunay (1885-1979) ile \u0130spanyol Juan Gris\u2019nin (1887-1927) Lucie-Smith taraf\u0131ndan tercih edilen isimler oldu\u011funu g\u00f6r\u00fcyoruz. Burada ismi ge\u00e7en sanat\u00e7\u0131lar\u0131n k\u00fcbizm u\u011fruna b\u00fcy\u00fck de\u011fi\u015fmeleri, yap\u0131tlar\u0131 \u00fczerinden denediklerini dile getirebiliriz. Analitik, sentetik, renk ve t\u00fcp k\u00fcbizmleri deneyen bu isimlerden baz\u0131lar\u0131, teorik metinler de kaleme alm\u0131\u015flard\u0131r. \u00dclkemize, bu ak\u0131m\u0131n sadece form dili transfer edilmi\u015f, bu form dili de ulusal motiflerle i\u015flenmi\u015ftir.<\/p>\n

\"\"<\/a>5. Ba\u015fl\u0131k: F\u00fct\u00fcrizm<\/h5>\n

\u0130talyan iki isim; Giacomo Balla (1871-1958) ve Umberto Boccioni (1882-1916) ele al\u0131nan se\u00e7kide kendine yer bulmakta. \u00dclkemizde, \u00f6zellikle zamanda\u015fl\u0131k ba\u011flam\u0131nda F\u00fct\u00fcrizm\u2019e kafa yoran herhangi bir isme rastlam\u0131yoruz. Ge\u00e7 de olsa \u00f6rne\u011fin, Ali \u00c7elebi\u2019nin \u201cVitrin\u201d isimli \u00e7al\u0131\u015fmas\u0131n\u0131n \u00f6n plan\u0131nda; vitrini, y\u00fcr\u00fcrken izlemekte olan fig\u00fcr\u00fcn hareketli haldeyken g\u00f6sterilmesi F\u00fct\u00fcrizm\u2019in bi\u00e7im diline ba\u011flanm\u0131\u015ft\u0131r.<\/p>\n

6. Ba\u015fl\u0131k: Alman Ekspresyonizmi<\/h5>\n

\u0130smi ge\u00e7enler; Emil Nolde (1867-1956), Paula Modersohn-Becker (1876-1907), Gabriele M\u00fcnter (1877-1962), Ernst Ludwig Kirchner (1880-1938), Max Beckmann (1884-1950) ve Franz Marc\u2019t\u0131r (1880-1916). Bu sanat\u00e7\u0131lar\u0131n hepsi Almand\u0131r. Burada \u00f6zellikle Lucie-Smith\u2019in iki kad\u0131n sanat\u00e7\u0131ya dikkat \u00e7ekmesi \u00f6nemli. Bu d\u00f6nem Alman sanat\u0131nda \u00e7e\u015fitli vol\u00fcmlerde \u00e7izgi ve boya deformasyonlar\u0131 ba\u015fta olmak \u00fczere, humoresk ve ironik tav\u0131rlara da yer verilmi\u015ftir. \u00dclkemize, \u00f6zetle b\u00f6yle bir ekspresyonizme benzer bir \u00fcslubu, konuya kafa da yorarak ve gecikmeli de olsa 1928-29\u2019dan sonra getiren iki isim vard\u0131r: Ali \u00c7elebi (1904-1993) ve Zeki Kocamemi (1900-1959). Bu isimlerin, Almanya\u2019da uzunca bir s\u00fcre kalarak Hans Hofmann At\u00f6lyesi\u2019nde(3) sanat e\u011fitimi ald\u0131klar\u0131ndan dolay\u0131, b\u00f6yle bir \u015fans\u0131 yakalad\u0131klar\u0131 d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n

\"\"<\/a>7. Ba\u015fl\u0131k: Viyana Sezession<\/h5>\n

Burada de\u011ferlendirilen isimler; Avusturyal\u0131 Gustav Klimt (1862-1918), Alman Oskar Kokoschka (1886-1980) ve Egon Schiele\u2019dir (1890-1918). Bu sanat\u00e7\u0131lar bir ekspresyonist dil zenginli\u011finden yararlanarak, fig\u00fcratif deformasyon ve soyutlaman\u0131n \u00e7e\u015fitli vol\u00fcmlerini de\u011ferlendirerek hareket etmi\u015flerdir. Bu sanat\u00e7\u0131lar\u0131n klasik olana ba\u015f kald\u0131rmalar\u0131 en \u00f6nemli \u00f6zellikleridir.<\/p>\n

8. Ba\u015fl\u0131k: Paris Ekol\u00fc<\/h5>\n

Buradaki isimler Frans\u0131z Georges Rouault (1871-1958), Hollandal\u0131 Piet Mondrian (1872-1944), Romen Constantin Brancusi (1876-1957), \u0130talyan Amadeo Modigliani (1884-1920) ve Frans\u0131z Cha\u00efm Soutine\u2019dir (1893-1943). Bu sanat\u00e7\u0131lar\u0131n de\u011fi\u015fik soyutlama vol\u00fcmlerinden yana durarak yap\u0131tlar\u0131n\u0131 de\u011ferlendirdi\u011fini g\u00f6r\u00fcyoruz. Paris\u2019in o bohem ya\u015fam\u0131nda, \u00f6zellikle Modigliani ve Soutine\u2019nin derin izler b\u0131rakt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Bu sanat\u00e7\u0131lar Paris\u2019le \u00f6zde\u015f hale gelen isimlerdir de ayn\u0131 zamanda.<\/p>\n

\"\"<\/a>9. Ba\u015fl\u0131k: Ruslar<\/h5>\n

Bu ba\u015fl\u0131ktaki isimler Kasimir Malevich (1878-1935), Mikhail Larionov (1881-1964) ve Natalia Goncharova (1881-1962), Vladimir Tatlin (1885-1953), Marc Chagall (1887-1985), Liubov Popova (1889-1924), El Lisstzky (1890-1941), Alexander Rodchenko (1891-1956) ve Varvara Stepanova (1894-1958), Naum Gabo (1890-1977). Bu sanat\u00e7\u0131lar\u0131n konstr\u00fcktivist bir dili de\u011ferlendirerek, soyuta e\u011filimli soyutlama vol\u00fcmlerini s\u0131kl\u0131kla kulland\u0131\u011f\u0131n\u0131 fark ediyoruz. Yeni olu\u015fumlara a\u00e7\u0131k Rusya\u2019da derinlikli yeniden olu\u015fumlara destek veren bu sanat\u00e7\u0131lar, yeniden \u00fcretilebilir bir d\u00fcnya d\u00fc\u015f\u00fcncesinden de hareket etmi\u015flerdir.<\/p>\n

10. Ba\u015fl\u0131k: Dada<\/h5>\n

Lucien-Smith\u2019in tercih etti\u011fi isimler Frans\u0131z-\u0130spanyol Francis Picabia (1879-1953), Frans\u0131z Marcel Duchamp (1887-1968), Alman Kurt Schwitters (1887-1948), Alman Hans Arp (1887-1966) ve \u0130svi\u00e7reli Sophie Taeuber-Arp (1889-1943), Alman John Heartfield (1891-1968). Dadac\u0131lar\u0131n bir kar\u015f\u0131 sanat filozofisinden hareket edip, nihilizm temelli at\u0131l\u0131mlar yapt\u0131\u011f\u0131n\u0131 biliyoruz. Neyin, ne oldu\u011fu, nas\u0131l anla\u015f\u0131labilece\u011fi konular\u0131n\u0131n \u00e7ok \u00fcst\u00fcnde durmadan, bir anda sanat ad\u0131na yap\u0131lanlar\u0131n \u00f6nemsizle\u015ftirilip, eylem dilinin de\u011fer kazanmas\u0131na neden olan at\u0131l\u0131mlara giri\u015fmi\u015f sanat\u00e7\u0131lard\u0131r bunlar. Kuvvetle protestocu bir \u00fcslup yanl\u0131s\u0131 olmu\u015flard\u0131r.<\/p>\n

11. Ba\u015fl\u0131k: Metafizik Resim<\/h5>\n

Burada da \u0130talyan sanat\u00e7\u0131lar Giorgio de Chirico (1888-1978) ve Giorgio Morandi\u2019nin (1890-1964) de\u011ferlendirildi\u011fini g\u00f6r\u00fcyoruz. Bu sanat\u00e7\u0131lar\u0131n nesneler d\u00fcnyas\u0131, dolay\u0131s\u0131yla g\u00f6r\u00fcng\u00fcler filozofisine kendilerini tamamen adad\u0131klar\u0131 bilinmektedir. Nesneler aras\u0131ndaki ili\u015fkilere y\u00f6nelen ya da y\u00f6nelebilecek \u00f6zne sorgulamalar\u0131 ve t\u00fcm nesne-\u00f6zne ili\u015fkilerinin ger\u00e7ek ve ger\u00e7ek\u00fcst\u00fc ba\u011flamlarda yeniden sorguya al\u0131nmas\u0131 temel hedefleri olmu\u015ftur.<\/p>\n

\"\"<\/a>12. Ba\u015fl\u0131k: S\u00fcrrealizm (Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck)<\/h5>\n

Ba\u015fl\u0131k alt\u0131ndaki isimler Alman Max Ernst (1891-1976), \u0130spanyol Joan Mir\u00f3 (1893-1983), Frans\u0131z Ren\u00e9 Magritte (1898-1967) ve \u0130spanyol Salvador Dal\u00ed\u2019dir (1904-1989). Sanat modern boyuttaki anlat\u0131mc\u0131 bir dile, belki de ilk defa bu ba\u015fl\u0131kla ula\u015fm\u0131\u015ft\u0131r. Bu anlat\u0131mc\u0131l\u0131k, plastik sanatlar\u0131n yan\u0131na ba\u015fka alan, teknik, \u00fcslup vb. zenginlikleri de koyarak, auras\u0131 genle\u015fen bir hale ula\u015fm\u0131\u015ft\u0131r. \u00d6zellikle edebiyat, sinema, tiyatro ve felsefe ile zenginle\u015fen s\u00f6z konusu sanat\u00e7\u0131lar, art\u0131k bir noktadan sonra her t\u00fcrl\u00fc anormalli\u011fin de sanat\u0131n s\u0131n\u0131rlar\u0131n\u0131 zorlayabilece\u011fi konusunun alt\u0131n\u0131 \u00e7izmi\u015ftir.<\/p>\n

13. Ba\u015fl\u0131k: Bauhaus<\/h5>\n

Burada Rus Vasily Kandinsky (1866-1944), Alman Lyonel Feininger (1871-1956), Alman Paul Klee (1879-1940), Macar L\u00e1szl\u00f3 Moholy-Nagy (1895-1946) ve Alman Josef Albers (1888-1976) dikkati \u00e7ekmektedir. \u0130n\u015fac\u0131 e\u011filimler ve temel sanat e\u011fitiminin, \u00e7izgi ve renk fakt\u00f6rlerinin \u00f6n plana \u00e7\u0131kar\u0131ld\u0131\u011f\u0131 bir Alman sanat e\u011filimidir Bauhaus. E\u011fitim ve kuram bu sanat\u00e7\u0131lar\u0131n ortak, temel \u00f6zellikleridir. Soyut bir \u00fcslubun derinlemesine irdelendi\u011fi dikkat \u00e7ekmi\u015ftir.<\/p>\n

\"\"<\/a>14. Ba\u015fl\u0131k: Yeni Nesnelcilik<\/h5>\n

Alman sanat\u00e7\u0131lar Otto Dix (1891-1969) ve George Grosz (1893-1959) bu ba\u015fl\u0131kta Lucien-Smith taraf\u0131ndan ele al\u0131nan iki isimdir. Daha \u00e7ok grotesk bir fig\u00fcr dilini, d\u0131\u015favurumcu bir deformasyon ve soyutlamac\u0131 dille birle\u015ftiren bir e\u011filimden yana olmu\u015flard\u0131r. Bu iki sanat\u00e7\u0131 da var olana kar\u015f\u0131 bir anlat\u0131mc\u0131l\u0131ktan yana olmu\u015ftur. Kendi tepkilerini ge\u00e7irdikleri ya\u015famsall\u0131klar\u0131n\u0131n da kayd\u0131n\u0131n tutuldu\u011fu yap\u0131tlar\u0131yla vermi\u015flerdir.<\/p>\n

15. Ba\u015fl\u0131k: Meksikal\u0131lar<\/h5>\n

D\u00f6rt isim; Jos\u00e9 Clemente Orozco (1883-1949), Diego Rivera (1886-1957), David Alfaro Siqueiros (1896-1974) ve Frida Kahlo\u2019dur (1907-1954). Bu sanat\u00e7\u0131lar da kendilerine \u00f6zg\u00fc bir fig\u00fcr hacim abart\u0131s\u0131n\u0131 \u00f6zellikle duvar resim gelene\u011fiyle de birle\u015ftirmesini bilmi\u015f, buna g\u00f6re bir sanat dili ortaya koymu\u015flard\u0131r. Genel anlamda farkl\u0131, fantastik bir sanat dillerinin de oldu\u011fu dikkat \u00e7eker.<\/p>\n

16. Ba\u015fl\u0131k: D\u00fcnya sava\u015flar\u0131 aras\u0131nda Amerika<\/h5>\n

ba\u015fl\u0131\u011f\u0131n sanat\u00e7\u0131lar\u0131 Edward Hopper (1882-1967), Georgia O\u2019Keeffe (1887-1986), Thomas Hart Benton (1889-1975) ve Stuart Davis\u2019dir (1892-1964). Anlat\u0131mc\u0131 bir Amerikan sanat\u0131n\u0131n varl\u0131\u011f\u0131 bu ba\u015fl\u0131k alt\u0131nda savunulmu\u015ftur.<\/p>\n

17. Ba\u015fl\u0131k: D\u00fcnya sava\u015flar\u0131 aras\u0131nda \u0130ngiltere<\/h5>\n

Jacob Epstein (1880-1959), Stanley Spencer (1891-1959), Ben Nicholson (1894-1982), Henry Moore (1898-1986), Barbara Hepworth (1903-1975) kitapta de\u011ferlendirilen isimlerdir. Soyut dilin, somut olandan hareketle do\u011fabilece\u011fi konusunun alg\u0131s\u0131na ula\u015f\u0131lmas\u0131 ve konunun yap\u0131tlar arac\u0131l\u0131\u011f\u0131yla dile getirilmesi durumunun \u00f6nemine i\u015faret edilmi\u015ftir.<\/p>\n

18. Ba\u015fl\u0131k: Soyut D\u0131\u015favurumculuk<\/h5>\n

Ba\u015fl\u0131\u011f\u0131n isimleri Mark Rothko (1903-1970), Clyfford Still (1904-1980), Willem de Kooning (1904-1997), Ermeni Arshile Gorky (1904-1948), Barnett Newman (1905-1970), Lee Krasner (1908-1984), Franz Kline (1910-1962), Jackson Pollock (1912-1956) ve Ad Reinhardt\u2019d\u0131r (1913-1967). Bu sanat\u00e7\u0131lar\u0131n temsil ettikleri sanat\u0131n soyut oldu\u011fu konusunda hem fikir olan otoriteler, d\u0131\u015favurumcu boyutunun t\u00fcm sanat\u00e7\u0131 isimlere genel olarak yans\u0131mad\u0131\u011f\u0131n\u0131, \u00e7ok az\u0131n\u0131n d\u0131\u015favurumcu ba\u011flama ili\u015fti\u011fi konusunun da alt\u0131n\u0131 \u0131srarla \u00e7izmektedir.<\/p>\n

19. Ba\u015fl\u0131k: Sava\u015f Sonras\u0131 Avrupa<\/h5>\n

\u0130simler \u0130svi\u00e7reli Alberto Giacometti (1901-1966), Frans\u0131z Jean Dubuffet (1901-1985), Polonyal\u0131 Balthus (1908-2001) ve \u0130ngiliz Francis Bacon\u2019d\u0131r (1909-1992). Bu sanat\u00e7\u0131lar sanat\u0131n ger\u00e7ek do\u011fas\u0131n\u0131 belirleyen iki \u00f6\u011feden, \u00f6zellikle deformasyonu \u00e7ok derinlikli bir \u015fekilde irdelemi\u015flerdir. Sava\u015f sonras\u0131 ortaya \u00e7\u0131kan bir\u00e7ok sosyolojik travman\u0131n temsiliyetini ele ald\u0131klar\u0131 \u00e7ok \u00e7e\u015fitli vol\u00fcmlerdeki deformasyon ve bu konuyu destekleyen soyutlama d\u00fcrt\u00fcs\u00fcne dayanan yap\u0131tlar\u0131nda sosyolojik sorunlar\u0131n yan\u0131 s\u0131ra psikolojik sorunlar\u0131 da d\u0131\u015fa vurmu\u015flard\u0131r.<\/p>\n

20. Ba\u015fl\u0131k: Soyut D\u0131\u015favurumculu\u011fun Varisleri<\/h5>\n

\u0130simler Amerikal\u0131 Louise Nevelson (1900-1988), David Smith (1906-1965) ve Morris Louis (1912-1962). Bu sanat\u00e7\u0131lar soyut d\u0131\u015favurumculu\u011fu, \u00f6zellikle \u00fc\u00e7 boyutlu malzemelerle bulu\u015fturma y\u00f6n\u00fcnde bir enerji ortaya koymu\u015flard\u0131r.<\/p>\n

21. Ba\u015fl\u0131k: Amerikan Yeni Dada<\/h5>\n

Bu ba\u015fl\u0131\u011f\u0131n iki sanat\u00e7\u0131s\u0131 Amerikal\u0131 Robert Rauschenberg (1925-2008) ve Jasper Johns\u2019tur (1930). Dada\u2019n\u0131n 1910\u2019lu y\u0131llar\u0131n sonundaki haliyle hi\u00e7 bir ilgisi olmayan bir \u00fcsluptan yana olmu\u015flard\u0131r. S\u00f6z konusu iki sanat\u00e7\u0131n\u0131n ortaya koyduklar\u0131n\u0131n daha \u00e7ok soyut d\u0131\u015favurumcular\u0131n varislerine destek verip, soyut d\u0131\u015favurumculu\u011fun \u00fc\u00e7 boyutlu hallerini destekledikleri s\u00f6ylenebilir.<\/p>\n

22. Ba\u015fl\u0131k: \u0130ngiliz Pop Art<\/h5>\n

Buradaki isimler Richard Hamilton (1922-2011) ve David Hockney\u2019dir (1937). Pop Art\u2019\u0131n en sa\u011flam aya\u011f\u0131 \u0130ngilizlerin elinde de\u011ferlendirilmi\u015ftir; bu ger\u00e7ekli\u011fi konuyla ilgili otoritelerin \u00e7o\u011fu kabul eder. Pop Art en nihayetinde iki ve \u00fc\u00e7 boyut meselelerini ayn\u0131 potada eritmesini bilmi\u015ftir. Bu sentez, \u0130ngilizler taraf\u0131ndan bulgulan\u0131r. Fakat bulgulanan\u0131n reklam\u0131, pazarlamas\u0131 ve \u00e7e\u015fitlenip desteklenmesi ise Amerikan Pop Art\u2019\u0131yla ger\u00e7ekle\u015fir.<\/p>\n

23. Ba\u015fl\u0131k: Amerikan Pop Art<\/h5>\n

Lucien-Smith taraf\u0131ndan Roy Lichtenstein (1923-1997), Andy Warhol (1928-1987), Claes Oldenburg (1929) ve Jim Dine (1935) tercih edilen isimlerdir. Bu sanat\u00e7\u0131lar Pop Art\u2019\u0131 \u00e7e\u015fitli malzeme, alan, sekt\u00f6r, piyasa kavramlar\u0131yla ciddi bir kombinasyona g\u00f6t\u00fcrm\u00fc\u015ft\u00fcr. Yirminci y\u00fczy\u0131l\u0131n t\u00fcm bak\u0131\u015f a\u00e7\u0131s\u0131 k\u00fcbizmden sonra ikinci bir yol ayr\u0131m\u0131 olan Pop Art\u2019la b\u00fcy\u00fck bir de\u011fi\u015fime gitmi\u015f, bug\u00fcnleri bile derinden etkileyen bir bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n do\u011fmas\u0131na neden olmu\u015ftur. Sanat ve sim\u00fclasyon kavramlar\u0131 ciddi boyutta ilk kez Amerikan Pop Art\u2019\u0131 ile sorgulan\u0131r hale gelmi\u015ftir.<\/p>\n

24. Ba\u015fl\u0131k: Not Alan Sanat\u00e7\u0131lar<\/h5>\n

Burada Frans\u0131z Louise Bourgeois (1911-2010), Alman Joseph Beuys (1921-1986), Frans\u0131z Yves Klein (1928-1962), Alman Eva Hesse (1936-1970), Amerikal\u0131 Jean-Michel Basquiat (1960-1988), \u00c7inli Zhang Xiaogang (1958) isimli sanat\u00e7\u0131lar\u0131 g\u00f6r\u00fcyoruz. Buradaki isimler sanatla bir t\u00fcr not al\u0131p, bu notlar\u0131 adeta bir re\u00e7ete gibi de\u011ferlendirme yoluna gidip, \u00e7e\u015fitli deneyselliklere ba\u015f vuran sanat\u00e7\u0131 tipleridir.<\/p>\n

25. Ba\u015fl\u0131k: D\u00f6rt Kad\u0131n Sanat\u00e7\u0131<\/h5>\n

Bunlar Japon Yayoi Kusama (1929), Amerikal\u0131 Judy Chicago (1939), G\u00fcney Afrikal\u0131 Marlene Dumas (1953) ve \u0130ranl\u0131 Shirin Neshat\u2019d\u0131r (1957). Bu sanat\u00e7\u0131lar\u0131n kad\u0131n ve kad\u0131n sorunsallar\u0131 \u00fczerinden y\u00fcr\u00fcyen sanat\u00e7\u0131lar oldu\u011funu biliyoruz. Lucie-Smith\u2019in, \u00f6zellikle sanatlar\u0131na \u00e7ok yak\u0131nl\u0131k duydu\u011fu d\u00f6rt kad\u0131n sanat\u00e7\u0131yla kitab\u0131n\u0131, dolay\u0131s\u0131yla se\u00e7kisini sona erdirdi\u011fini g\u00f6r\u00fcyoruz.<\/p>\n

Sonu\u00e7<\/h5>\n

Edward Lucie-Smith\u2019in t\u00fcm d\u00fcnyada ilgin\u00e7 tepkilerle kar\u015f\u0131la\u015fan kitab\u0131nda, Art Today ve Art Tomorrow\u2019daki genellemelerden ka\u00e7arak, sanat\u00e7\u0131 isimleri bu kez \u201cyarat\u0131c\u0131 olma\u201d ba\u011flam\u0131nda ele ald\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Yirminci y\u00fczy\u0131lda \u00e7e\u015fitli \u00fcslup zenginlikleri ortaya konulmu\u015fsa, yukar\u0131da dile getirdi\u011fimiz bunlar\u0131n en temel ba\u015fl\u0131klara indirgenmesi ve bu ba\u015fl\u0131klar\u0131 temsil eden sanat\u00e7\u0131lara dikkat \u00e7ekilmesi m\u00fcthi\u015f bir iddia i\u015fidir. Fakat en do\u011fru bir sonuca Lucie-Smith\u2019in bu kitab\u0131yla ula\u015f\u0131yoruz ki, o da her sanat ele\u015ftirmeninin bu tip iddial\u0131 \u00e7al\u0131\u015fmalara cesaretle giri\u015fmesi \u00f6nemli ve ger\u00e7ek sanat\u0131n alg\u0131lanmas\u0131 boyutunda da \u00e7ok gereklidir.(4)<\/p>\n

Notlar<\/h5>\n

(1) Edward Lucie-Smith, Lives of the Great Modern Artists, London, Times&Hudson, 2009.
\n(2) Yaprak Zihnio\u011flu (Ed.), Osmanl\u0131 Ressamlar Cemiyeti Gazetesi, 2007, Kitap Yay\u0131nevi, \u0130stanbul, s. 110.
\n(3) \u00d6zkan Ero\u011flu, Hofmann At\u00f6lyesinde \u00c7al\u0131\u015fan T\u00fcrk Ressamlar\u0131 ve T\u00fcrk Resmine Katk\u0131lar\u0131, \u0130.\u00dc Edebiyat Fak. Sanat Tarihi Anabilim Dal\u0131 Yay\u0131mlanmam\u0131\u015f Doktora Tezi, 2011.
\n(4) 2002\u2019de de \u00fclkemiz resim sanat\u0131nda da benzer ve bug\u00fcne dek \u00fclkemizde yap\u0131lmam\u0131\u015f bir \u00e7al\u0131\u015fma ele al\u0131nm\u0131\u015ft\u0131r: \u00d6zkan Ero\u011flu, Kim Sanat\u00e7\u0131? \/ Who is an Artist?, 2002, \u00d6ke Yay\u0131nevi, \u0130stanbul. Bu kitap genel ve al\u0131\u015f\u0131lm\u0131\u015f yarg\u0131lardan ka\u00e7arak, en son kertedeki saptamas\u0131n\u0131, d\u00fcnyaca otoriteler taraf\u0131ndan kabul g\u00f6rm\u00fc\u015f kriterler e\u015fli\u011finde yapm\u0131\u015ft\u0131r.<\/p>\n

Priv.-Doz.Dr. \u00d6zkan Ero\u011flu
\nHabilitation in Philosophie der Kunst<\/h6>\n\n\n","protected":false},"excerpt":{"rendered":"

Edward Lucie-Smith\u2019in \u201cLives of the Great Modern Artists\u201d isimli kitab\u0131ndan (1) yola \u00e7\u0131karak, bu yay\u0131nda ele al\u0131nan yirminci y\u00fczy\u0131lda modern sanata uygulanan tercihler \u00fczerine bir metni a\u015fa\u011f\u0131da sunuyoruz.<\/p>\n","protected":false},"author":9192214,"featured_media":115601,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,6670],"tags":[84107],"class_list":["post-115799","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-sanat","tag-kubizm"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/115799","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/users\/9192214"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/comments?post=115799"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/115799\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/115601"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=115799"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=115799"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=115799"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}