20. Yüzyıl Resim Sanatında Figür Ve Portreye Yaklaşım

Abstract

XX. Yüzyıl Resim Sanatında Figür ve Portreye Yaklaşım" adı altında altı bölümde ele alınan bu çalışmamda abartılmış bir figür fantastiğinin reel çağrışımlarına bağlanmaktan çok stilizasyon yoluyla figüre ilişkin gerçekleştirilen anlatımlardan yararlanmaya çalıştım. Paul Klee'nin sözü ile "Sanat artık, görünebilir olan şeyi tekrarlamaz, tersine görünür kılar." Görünür kılınacak şey, duyularla kavranan nesneler değil onların anlamı, nesnelerin soyut düşünsel varlığıdır. Böylece iç yaşantılarımızın, dolaysız nesnesiz dışa dökülmesi ortaya çıkar. Kandinsky'nin objenin, nesnel biçimin resme zararlı olduğu düşüncesi soyut sanat için genel kural değeri olarak kabul edilir. Sanatçının dış gerçekten uzaklaşması ile başlayan soyutlama ile yaratma düşüncesine geniş olanak tanıyarak kişiliğin ortaya çıkmasına neden olur. Soyutluk, derinliği düşünme, biçimlendirmedir. Öz, biçimle karışarak kendini gösterir. Sonuç olarak, soyutlamaya, yeni biçim vermeye dayalı resim özgürleşir.

In our thesis, which has been examined in six chapters unde the title of " A close look at figure and portrait in the art of painting in the 20 th. century", we have tried to get use of narrations to figures through sytilization rather than reel recoils of the exaggerated figure fantastics. In our paintings, figures are sometimes as one figure and sometimes they take place as one synbol in a solid appearance. Our paintings have got figurative richness as well as figurative narration. The broken surfaces do not have much difference in general and are in geometric design. From time to time, we have tried to get in to narration plans which have location depth. From time to time, figures and portraits which have been graphically accented have been enriched in design and colours. IV In our paintings, abstract and concrete have been used together in one another. The portraits and figures have gained new identities in a composition sketch. We have tried to explain the classic themes in a contemporary language and have tired to give more importance to the main from according to my own understanding. A fourth point in the paintings is the geometric designs as well as depth volume arrangements in our paintings give a new dimension to the abstract and concrete relationship. In our compositions, the line enaples the figures to be perceived and supplies the continuous relationship between the figures. We have tried to comprehend the quontities which our thoughts can give to the paintings rather than only eyesight can do. Klee says, "Today art doesnot repeat what can already be seen and what is already there but brings it to vision and makes it perceptible." What is meant here, by making perceptable or bringing to vision is not the elements which can be graoped through senses, but their abstract existance in the mind. Thus, we can exhibit our inner world without masks or outer effects. Kandinsky's thought which says, the object' s solid shape is destructive to painting is accepted as a general rule for abstract painting. The thought to create by getting away from the outer v realities through abstractness makes it possible for the artist to expose his real personality. Abstractness is the art of thinking depth them giving a shape to it in your own style. The essence shows it self mixing with the from and the art of painting which is based on giving new shapes and abstractness becomes more and more in dependent