Intellectual Foundations of D Group a Pioneering Movement in Turkish Painting Art

Mehmet Susuz; Mahmut Sami Öztürk

Makale detayları

Intellectual Foundations of D Group a Pioneering Movement in Turkish Painting Art

Yazarlar:

Mehmet Susuz | Mahmut Sami Öztürk

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Resim

Dergi:

Konya Sanat Issue 6, pp.244-257

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001308275

pISSN:

2667-789X

Anahtar kelimeler:

Özet:

 Since the beginning of Turkish painting, both its formal change and transformation and the varying structure of the values it contains in terms of content have attracted the attention of many researchers. Westernization effects in Turkish painting has an important place in the center of the research conducted in the context of this subject. Identifying the westernization effects that emerged in these periods is important in terms of perceiving the potential of the D Group, which was founded in 1933, to be a pioneering movement in Turkish painting art. D Group artists, most of whom were educated at Sanayi-i Nefise Mektebi, added new values to their existing artistic knowledge by going to the West, where the art of painting was practiced in an effective academic context. After returning home, D Group artists laid the foundations of a formation that will be considered a pioneer in terms of Turkish painting. These foundations were not just the aesthetic values achieved by blending the Constructivist forms of the East and the Cubist forms of the West. At the same time, D Group artists, who reflect the subjects of daily life that constitute the social dynamics of our culture, the life practices of people living in rural areas and the images of our culture in their works by blending them at an aesthetic level, have brought a new breath to Turkish painting. There are some values that make the D Group movement different from previous art formations. Examining these values is important in revealing the purpose of the research. We can express the general evaluations reached in the researches conducted on the potential of D Group as follows: - D Group artists, who used geometric fragmentation and constructivist understanding together in Turkish painting art, reflected the original forms they created in their works at an aesthetic level. - Artists have developed theoretical discourses as a defense reflex to increase the perceptibility of the artistic approach put forward by the group. These evaluations contribute to explaining the intellectual foundations of D Groups potential to become a pioneering art movement.

 Since the beginning of Turkish painting, both its formal change and transformation and the varying structure of the values it contains in terms of content have attracted the attention of many researchers. Westernization effects in Turkish painting has an important place in the center of the research conducted in the context of this subject. Identifying the westernization effects that emerged in these periods is important in terms of perceiving the potential of the D Group, which was founded in 1933, to be a pioneering movement in Turkish painting art. D Group artists, most of whom were educated at Sanayi-i Nefise Mektebi, added new values to their existing artistic knowledge by going to the West, where the art of painting was practiced in an effective academic context. After returning home, D Group artists laid the foundations of a formation that will be considered a pioneer in terms of Turkish painting. These foundations were not just the aesthetic values achieved by blending the Constructivist forms of the East and the Cubist forms of the West. At the same time, D Group artists, who reflect the subjects of daily life that constitute the social dynamics of our culture, the life practices of people living in rural areas and the images of our culture in their works by blending them at an aesthetic level, have brought a new breath to Turkish painting. There are some values that make the D Group movement different from previous art formations. Examining these values is important in revealing the purpose of the research. We can express the general evaluations reached in the researches conducted on the potential of D Group as follows: - D Group artists, who used geometric fragmentation and constructivist understanding together in Turkish painting art, reflected the original forms they created in their works at an aesthetic level. - Artists have developed theoretical discourses as a defense reflex to increase the perceptibility of the artistic approach put forward by the group. These evaluations contribute to explaining the intellectual foundations of D Groups potential to become a pioneering art movement.

 Since the beginning of Turkish painting, both its formal change and transformation and the varying structure of the values it contains in terms of content have attracted the attention of many researchers. Westernization effects in Turkish painting has an important place in the center of the research conducted in the context of this subject. Identifying the westernization effects that emerged in these periods is important in terms of perceiving the potential of the D Group, which was founded in 1933, to be a pioneering movement in Turkish painting art. D Group artists, most of whom were educated at Sanayi-i Nefise Mektebi, added new values to their existing artistic knowledge by going to the West, where the art of painting was practiced in an effective academic context. After returning home, D Group artists laid the foundations of a formation that will be considered a pioneer in terms of Turkish painting. These foundations were not just the aesthetic values achieved by blending the Constructivist forms of the East and the Cubist forms of the West. At the same time, D Group artists, who reflect the subjects of daily life that constitute the social dynamics of our culture, the life practices of people living in rural areas and the images of our culture in their works by blending them at an aesthetic level, have brought a new breath to Turkish painting. There are some values that make the D Group movement different from previous art formations. Examining these values is important in revealing the purpose of the research. We can express the general evaluations reached in the researches conducted on the potential of D Group as follows: - D Group artists, who used geometric fragmentation and constructivist understanding together in Turkish painting art, reflected the original forms they created in their works at an aesthetic level. - Artists have developed theoretical discourses as a defense reflex to increase the perceptibility of the artistic approach put forward by the group. These evaluations contribute to explaining the intellectual foundations of D Groups potential to become a pioneering art movement.

 Türk resim sanatının başlangıcından itibaren gerek biçimsel değişimi ve dönüşümü gerekse içerik yönünden barındırdığı değerlerin farklılaşan yapısı birçok araştırmacının ilgisini çekmiştir. Bu konu bağlamında yapılan araştırmaların merkezinde Türk resim sanatında batılılaşma etkileri önemli yer tutar. Bu dönemlerde ortaya çıkan batılılaşma etkilerinin tespit edilmesi, 1933 yılında kurulan D Grubunun Türk resim sanatındaki öncü hareket olma potansiyelinin algılanması açısından önemlidir. Çoğu, Sanayi-i Nefise Mektebinde eğitim görmüş D Grubu sanatçıları, resim sanatının akademik düzeyde etkili bir bağlamda gerçekleştirildiği Batıya giderek var olan sanatsal birikimlerine yeni değerler eklemişlerdir. D Grubu sanatçıları, yurda döndükten sonra Türk resim sanatı açısından öncü ifadesiyle değerlendirilecek bir oluşumun temellerini atmışlardır. Bu temeller sadece Doğunun konstrüktivist inşacı ve Batının kübist formların harmanlanmasıyla ulaşılan estetik değerler değildi. Aynı zamanda kültürümüzün toplumsal dinamiklerini oluşturan gündelik yaşamın konularını, kırsal bölgelerde yaşayan insanların yaşam pratiklerini ve kültürümüze ait imgeleri estetik bir düzeyde harmanlayarak eserlerine yansıtan D Grubu sanatçıları Türk resim sanatına yeni bir soluk getirmiştir. D Grubu hareketini öncesindeki sanat oluşumlarından farklı kılan bazı değerler bulunur. Bu değerlerin incelenmesi araştırmanın amacının ortaya konulması açısından önemlidir. D Grubunun potansiyeline yönelik yapılan araştırmalarda ulaşılan genel değerlendirmeleri şu şekilde ifade edebiliriz: - Türk resim sanatında geometrik parçalanmaları ve inşacı anlayışı bir arada kullanan D Grubu sanatçıları, oluşturdukları özgün formları estetik düzeyde eserlere yansıtmışlardır. - Grubun ortaya koyduğu sanat anlayışının algılanabilirliğini arttırmaya yönelik sanatçılar, bir savunma refleksi olarak kuramsalteorik söylemler geliştirmişlerdir. İfade edilen bu değerlendirmeler, D Grubunun öncü bir sanat hareketi olma potansiyeline yönelik düşünsel temellerin açıklanabilmesine katkı sağlar.

Makale detayları

Intellectual Foundations of D Group a Pioneering Movement in Turkish Painting Art

Yazarlar:

Mehmet Susuz | Mahmut Sami Öztürk

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Resim

Dergi:

Konya Sanat Issue 6, pp.244-257

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001308275

pISSN:

2667-789X

Intellectual Foundations of D Group a Pioneering Movement in Turkish Painting ArtSanat

Türk Resim Sanatı

‘D’ Grubu

Kübizm

Konstrüktivizm

Sayı

Makale detayları

Intellectual Foundations of D Group a Pioneering Movement in Turkish Painting Art

Yazarlar: Mehmet Susuz | Mahmut Sami Öztürk

Yayıncı: Necmettin Erbakan University

Ana Başlıklar: Resim

Dergi: Konya Sanat Issue 6, pp.244-257

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001308275

pISSN: 2667-789X

Intellectual Foundations of D Group a Pioneering Movement in Turkish Painting ArtSanat

Türk Resim Sanatı

‘D’ Grubu

Kübizm

Konstrüktivizm

Sayı

Yazarlar:

Mehmet Susuz | Mahmut Sami Öztürk

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Resim

Dergi:

Konya Sanat Issue 6, pp.244-257

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001308275

pISSN:

2667-789X