Paris ekolü ve bir kadın sanatçı Fahr-El-Nissa Zeid
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Dosyalar
Tarih
2023
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Trakya Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Sanat çizgisinde Batı’yı örnek alan Türk Resim Sanatı, Osmanlı’nın son döneminden itibaren Paris’i sanatın merkezi olarak görmekteydi. Ancak, Avrupa yolunu tutan kuşaklar dönemin sanatını benimseyemedikleri için, birkaç yıl geriden takip etmişlerdir. İkinci Dünya Savaşı’nın ardından özel resim atölyeleri ve özgür sanat atmosferiyle bir kez daha merkez konumuna gelen Paris, birçok ulustan gelen sanatçılara kucak açmıştır. Galericiler, eleştirmenler ve koleksiyonerlerden önemli ölçüde destek gören sanatçılar, soyut anlamda resimler üretmişlerdir. 1910 ve 1930 yıllarında Paris’e yerleşmiş, modern sanat uygulayan sanatçılar Ecole de Paris (Paris Ekolü) adı altında değerlendirilirken, İkinci Dünya Savaşı’ndan sonra gelişmekte olan lirik-lekesel soyut sanatla uğraşan yerli ve yabancı sanatçıları belirtmek için Nouvelle Ecole de Paris (Yeni Paris Ekolü) terimi yaygınlaşmıştır. Tam da bu oluşum çizgisi içinde yer almış, Türk sanatçılarımızdan Nejad Devrim, Selim Turan, Mübin Orhon, Albert Bitran, Hakkı Anlı ve kadın sanatçımız Fahrelnissa Zeid, Türkiye’nin Paris kanadını temsil etmişlerdir. 1945-1960 yılları arasında bu çok uluslu yapıda yer almak için Paris’e yerleşen Türk sanatçılarımız, Paris’in kültürel ortamında güçlü bağlar kurmuş, özgün soyut çalışmalarda bulunmuşlardır. Eş zamanlı yürütülen bu çalışmalar, Türk sanatı adına modernleşme süreci içerisinde incelendiğinde, sanatçılarımızın dönemsel tecrübelerini ortaya koymaktadır. Ayrıca Paris’te sergilere katılım gösteren az sayıda kadın sanatçılardan olan Fahrelnissa Zeid, birçok ülkede devasa boyutta eserleriyle sergiler açarak, uluslararası anlamda başarı sağlamıştır. Bu anlamda, soyut sanatın gelişiminde etkili olan sanatçılarımızın Türk sanatı adına araştırılması başarılarının ön plana çıkarılması önem kazanmaktadır.
Turkish painting art, which took the West as an example in its artistic line, saw Paris as the center of art since the last period of the Ottoman Empire. However, the generations who took the road to Europe followed the art of the period a few years behind because they could not adopt it. After the Second World War, Paris, which became the center once again with its private painting workshops and free art atmosphere, has embraced artists from many nations. The artists, who received significant support from galleries, critics and collectors, produced paintings in the abstract sense. While artists who settled in Paris in 1910 and 1930 and practiced modern art were evaluated under the name of Ecole de Paris, Nouvelle Ecole de Paris was used to indicate local and foreign artists dealing with lyrical-spotic abstract art developing after the Second World War. The term Paris School became widespread. Our Turkish artists Nejad Devrim, Selim Turan, Mübin Orhon, Albert Bitran, Hakkı Anlı and our female artist Fahrelnissa Zeid represented the Paris wing of Turkey. Our Turkish artists, who settled in Paris between 1945-1960 to take part in this multinational structure, established strong ties in the cultural environment of Paris and made original abstract works. These simultaneous studies reveal the periodical experiences of our artists when examined within the modernization process on behalf of Turkish art. In addition, Fahrelnissa Zeid, who is one of the few female artists participating in exhibitions in Paris, has achieved international success by opening exhibitions in many countries with her works of great size. In this sense, it is important to highlight the achievements of our artists, who are influential in the development of abstract art, on behalf of Turkish art.
Turkish painting art, which took the West as an example in its artistic line, saw Paris as the center of art since the last period of the Ottoman Empire. However, the generations who took the road to Europe followed the art of the period a few years behind because they could not adopt it. After the Second World War, Paris, which became the center once again with its private painting workshops and free art atmosphere, has embraced artists from many nations. The artists, who received significant support from galleries, critics and collectors, produced paintings in the abstract sense. While artists who settled in Paris in 1910 and 1930 and practiced modern art were evaluated under the name of Ecole de Paris, Nouvelle Ecole de Paris was used to indicate local and foreign artists dealing with lyrical-spotic abstract art developing after the Second World War. The term Paris School became widespread. Our Turkish artists Nejad Devrim, Selim Turan, Mübin Orhon, Albert Bitran, Hakkı Anlı and our female artist Fahrelnissa Zeid represented the Paris wing of Turkey. Our Turkish artists, who settled in Paris between 1945-1960 to take part in this multinational structure, established strong ties in the cultural environment of Paris and made original abstract works. These simultaneous studies reveal the periodical experiences of our artists when examined within the modernization process on behalf of Turkish art. In addition, Fahrelnissa Zeid, who is one of the few female artists participating in exhibitions in Paris, has achieved international success by opening exhibitions in many countries with her works of great size. In this sense, it is important to highlight the achievements of our artists, who are influential in the development of abstract art, on behalf of Turkish art.
Açıklama
Anahtar Kelimeler
Paris ekolü, Yeni Paris ekolü, Lirik, Taşizm, Paris School, New Paris School, Lyrical, Tachism
