Resim sanatında 19. yüzyılın sonundan günümüze portre

Abstract

Tür Resmi olarak Portre Avrupa'da 16. Yüzyılın ilk yarısında kısa bir süreiçinde büyük gelişme göstermiştir. Bu çalışmada öncelikle portrenin tanımına vebuna ek olarak portre ve otoporteye genel olarak değinilmiş, ardından İzlenimcilik'ekadar portrenin tarihi ele alınmıştır. Ardından 20.yy başı itibariyle portre dönemlerve ekoller bağlamında geçirdiği değişimler çerçevesinde görsel ve düşünsel açıdanirdelenmiştir.20. yüzyıl boyunca portre, farklı sanatçılar ve akımlar çerçevesinde farklıbağlamlarda ele alınmış, ayrıca yüzyılın avandgardları ve non figüratifleri tarafındanreddediliş nedenlerine değinilmiştir. Yine bu dönem içinde belirli akımlarabağlanamayacak figüratif resim devam etmiş, kendi yolunu belirlemiştir. Bu anlamdageniş bir alana yayılan ve çeşitlenen portrenin çağdaş dünya sanatı içindeki yeriaraştırılmıştır. Ardından Türk Resim Sanatı'nda portrenin yeri araştırılmış, ŞekerAhmet Paşa'nın bir otoportre örneğinden başlayarak, günümüze gelinmiştir.Metnin son bölümünde ise Pınar Partanaz'ın resimlerinin düşünsel ve görselkaynakları, portrelerin irdeleniş şekli ile ilişkilendirilerek çalışma tamamlanmıştır.VSUMMARYThe portrait as a genre, was greatly improved in only a few decades of the sixteenthcentury in Europe. In this study, firstly portraiture is considered generally, then the self-portrait, the over look of the artist inside himself is discussed. The history of the portraituntil the beginning of expressionism is examined. Besides then, portrait in western artis focused. From the beginning of the twenteeth century, the handling of the portrait as achanging vision and idea is also emphasized.During the twenteeth century, portraiture was examined by different artists indifferent trends with different meanings, and usually was refused by the non- figurativeand avant-gardes. In this period, figurative art which could not depend on anyrestrictions, did survive and proved itself. In this context the portraiture in the world isdiscussed until this day, which intends and practise unite with the power of thought andhave a great influence as expressions of face. After that, the place of the portrait inTurkish Painting was explored and was discussed from the relation of Şeker Ahmet Paşawith this genre, until today.At the end of the study, the intellectual and the visual source of Pınar Partanaz'spaintings are assigned with the study of portraiture.

The portrait as a genre, was greatly improved in only a few decades of the sixteenthcentury in Europe. In this study, firstly portraiture is considered generally, then the self-portrait, the over look of the artist inside himself is discussed. The history of the portraituntil the beginning of expressionism is examined. Besides then, portrait in western artis focused. From the beginning of the twenteeth century, the handling of the portrait as achanging vision and idea is also emphasized.During the twenteeth century, portraiture was examined by different artists indifferent trends with different meanings, and usually was refused by the non- figurativeand avant-gardes. In this period, figurative art which could not depend on anyrestrictions, did survive and proved itself. In this context the portraiture in the world isdiscussed until this day, which intends and practise unite with the power of thought andhave a great influence as expressions of face. After that, the place of the portrait inTurkish Painting was explored and was discussed from the relation of Şeker Ahmet Paşawith this genre, until today.At the end of the study, the intellectual and the visual source of Pınar Partanaz?spaintings are assigned with the study of portraiture.