Gauguin yorumlarında soyut kompozisyonlara

Yamak, Halil Fatih
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Sosyal Bilimler Enstitüsü
Soyut çalışmalarımı GAUGUİN'in resimlerini çıkış noktası alarak oluşturdum. GAUGUİN'i tercih etmemin sebebi beni biçim dili ve renkleriyle etkilemesi idi. Yapıtlarım iki boyutlu yüzeylere indirgenmiş biçimlerden ve bu biçimleri etkileyen renklerden organize edilmiş kompozisyonlardır. Biçimler özgün formlardan oluşmuş serbest biçimlerdir. Kullandığım tuşlar doku etkisiyle birlikte kompozisyon elemanlarını yüzeyde uyumlu bir birliktelik sağlamasına neden olurlar. Tuşlar ritimle birleşerek etkisini artırır. Tuşlarla getirilen çok seslilik aynı zamanda yaşamın çok sesliliğiyle uyum içindedir. Yapıtlarımın ön çalışmalarını kolaj tekniği ile, sonuç aşamalarını ise tual üzerine akrilik boya ile oluşturdum.
The human-beings had started to painting before writing. The aim of the pictures were different from being only simple painting, but it was belived to be a mediator in which there were symbols which gave magic strength to human-beings to fight against the nature. The fundamental speciality of the egyptian-art was described as below "The shape of an object must be drawn from the clearest view that will indicate it in the best way of looking- view." The events and figures seen in the pictures were represented in such an art that were made in a flat surface away from the depth feeling. Pompei the mastering of the light and shadowing art reaches to a monumental description. They had given the perspective and place impression to their pictures. The people of Rönesans wanted to see themselves and the nature in a new thinking-way and view, by putting all the curtains (obstacles) aside(away). Classizm in 18. century became the cultur ideal which discovered the antique world and its thoughts again. And at the end of this century the Roman tism appears. After some time the Realists came to view. II At the end of the 19. century the Empresyonism appears. It is the last ring of the real understanding. Empresyonism consists of the affect of the light at a certain moment. The peevish (particular) details and the sharp conturs are not to be seen. Everything is melt. They added the daily-life to their subjects. An the end of this century, against the Empresyonists the Empresyonists were seen. They could not find in the Empresyonists what they wanted or what they were looking for. They represantatives of this action were : Paul Cezanne (1839 - 1906), Paul Gaugin (1848 - 1903) Vincent Van Gogh (1853 - 1890). Cezanne had made all the shapes in the nature in globe(sphere), cone and cylindir. In his pictures the human-begins became objects. Van Gogh with his saying "I am the one who avoids from the eye-decepting". He gave personality to the objects. And Gauguin is the first artist who tried to have the big art from the folk-art. There cannot have been many other artists who set out as whole heartedly to live the envisioned in their art as Paul Gauguin did. Gauguin personified a new union of art and life, imagination and order, and in anticipating the piedominant 20th century characteristic he became on of the true pioneers of modernism. 1848 on 7 June Eugene Henri Paul Gauguin is born in Paris, the son of Clovis Gauguin, a Republican editor, and his wife Aline Marie Chazal After Louis Napoleon comes to power, the family emigrate to III peru. Gauguin's father dies on the way. The mother and children stan with relatives in Lima. 1886. Working as a bill-poster. Puts Clovis in a pension and goes to Pont-Aven in Brittany, where he meets Bernard, Again in Paris he meets Theo and Vincent Van Gogh and Degas. Dreams of travelling to the tropics 1888 February to October in Pont-Aven with Bernard, Laval and Meyerde Haan. Break with Impressionism. With Bernard he founds "Synthetic Symbolism". Painst Vision after the Sermon. Solo exhibition at Theo Van Gogh's gallery. Late autumn with Vincent Van Gogh in Aries. Following their misunderstandings he return to Schuffeneckers in Paris. Paul Gaugnin effected me first with the language of his shape and than with his colours. In 1994 when I left Istanbul so as to be a teacher in Mersin, I felt myself very happy to live in such a maiden-nature and so beautiful place. And when the time came for me to turn back to Istanbul where nearly all the places are crowded and grey I found the sun of which I had felt the absenty und the feelings of missing in the pictures of Gauguin. And Gauguin was the getting-out point for my pictures. The egsotism in the pictures of Gauguin was the quality of its affectiveness and its secret beatuty. Gauguin had used a very clear language in his pictures. But it was not the clear language that I looked for in my pictures. My IV figures and shapes had to be the ones that didin 't belong to the visual world. To use the real objects was a kind of limiting the world of the observes. Sometimes the eskiz-tecnic that I did on the pictures was the kind which I found and thought that they were the most passend, approciate, suitable and the easiest. I did so because I wanted to use the ready-metarial and to reach to the end quickly. I determined the metariel that I had to use from the coloured and not woven(tissue) pieces of paper. I started to my eskiz first after I had examined the ritm, colour and the shapes of the pictures of Gaugiun. The work that I started with he copies of analysis and the product of the work made me follow and reach to the personal-work and to the subjectiv observing and giving value view. My pictures (products) are organized compositions which are made by being affected from the two dimensioned shapes and colours. The fundamental structure of my colour and shape organisation becomes from the pictures of Gauguin. This fundamental structure reaches to the whole in its own harmony. The colour, shape and the keys make the espas. Each shape consists of a colour and the valors of that colour. As a results of this the shapes cause to get more value of their own by doing espas. The shapes had come to into existance of the particular forms which we can describe freely. Among the shapes long-short narrow-wide, hard-soft opposits are put and in this way it is reached V to a kind of richness. By having or replacing the shapes one after another and one next another, it is reached to a plan and made the espaz strong. With the affect of the tissue the keys that I used make the composition elements on the surface have a harmonic unity. It pulls(causes) all the elements to a united speech(meaning). At the same time the opposite usings among the keys make the espaz strong. I leads the observers to two dimensioned-using fallacy. The composition that is made of many and different kinds of structures are also in the harmony of the life's many and different kinds of structures and events.
Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1997
Anahtar kelimeler
empresyonizm, kompozisyon, Henri Paul Gaugin, resim sanatı, soyut sanat, impressionism, composition, painting art, abstract art