{"id":12990,"date":"2021-09-15T00:44:39","date_gmt":"2021-09-14T21:44:39","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=12990"},"modified":"2021-09-15T00:34:13","modified_gmt":"2021-09-14T21:34:13","slug":"alman-sanat-tarihi","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/alman-sanat-tarihi.html","title":{"rendered":"Alman Sanat Tarihi"},"content":{"rendered":"

Alman Sanat Tarihi<\/h2>\n

Alman sanat tarihi, g\u00f6rsel sanatlar, mimari, edebiyat gibi alanlarda d\u00fcnya sanat tarihinde \u00f6nemli bir yer tutar. Alman d\u00fc\u015f\u00fcncesini anlamak i\u00e7in derin bir incelemeye gerek vard\u0131r.<\/p>\n

Alman G\u00f6rsel Sanatlar\u0131<\/h3>\n

Almanya, g\u00f6rsel sanatlarda g\u00fc\u00e7l\u00fc ve zengin bir gelene\u011fe sahiptir. Fransa ve Almanya’da pop\u00fcler olan Gotik tarzda resimler ve heykeller, genellikle kiliseleri s\u00fcslemek i\u00e7in yap\u0131ld\u0131 ve \u0131\u015f\u0131kl\u0131 el yazmalar\u0131 ve vitraylar da yarat\u0131ld\u0131. XV. y\u00fczy\u0131lda resim, heykel ve mimari sanatlar\u0131n\u0131 birle\u015ftiren sunak eserlerin tasar\u0131m\u0131 pop\u00fcler bir aray\u0131\u015f haline geldi ve kitap bask\u0131s\u0131n\u0131n y\u00fckseli\u015fi bir\u00e7ok ince grav\u00fcr ill\u00fcstrasyonunun tasar\u0131m\u0131na \u00f6nc\u00fcl\u00fck etti. XV. ve XVI. y\u00fczy\u0131l\u0131n sonlar\u0131nda, Albrecht D\u00fcrer, Lucas Cranach, Matthias Gr\u00fcnewald ve Hans Holbein the Younger’\u0131n da dahil oldu\u011fu ve \u0130talyan R\u00f6nesans\u0131ndan etkilenen bir tarzda \u00e7al\u0131\u015fan Alman sanat\u00e7\u0131lardan olu\u015fan bir nesli ortaya \u00e7\u0131kt\u0131 ve \u00e7al\u0131\u015fmalar\u0131 Alman sanat\u0131nda alt\u0131n bir \u00e7a\u011f\u0131 temsil ediyordu. Bu d\u00f6nemde, 1520’lerin Protestan Reformu, D\u00fcrer’in say\u0131s\u0131z otoportresinde g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, putperest olarak kabul edilen ve daha sek\u00fcler konulara yol a\u00e7an baz\u0131 sanatlar\u0131n yok edilmesine yol a\u00e7t\u0131.<\/p>\n

Sonraki nesil sanat\u00e7\u0131lar, Barok ve Rokoko’daki Frans\u0131z ve \u0130talyan varyasyonlar\u0131n\u0131 ara\u015ft\u0131rd\u0131lar, ancak Alman sanat\u0131, teorisyen Johann Winckelmann ve bir dizi yeni sanat akademisi taraf\u0131ndan savunulan sakin bir Neoklasisizmin XVIII. y\u00fczy\u0131l\u0131n ortalar\u0131na kadar kesin bir ulusal karakter geli\u015ftirmedi.<\/p>\n

20. y\u00fczy\u0131l\u0131n Alman ressamlar\u0131, \u00f6zellikle Die Br\u00fccke (\u201cThe Bridge\u201d) ve Der Blaue Reiter (\u201cThe Blue Rider\u201d) gibi gruplar, Avrupa sanat\u0131nda yeni bir Ekspresyonist ak\u0131m geli\u015ftirdiler. 1916’dan itibaren Kurt Schwitters, George Grosz, Hannah H\u00f6ch, John Heartfield ve di\u011ferleri Dada’n\u0131n daha teorik endi\u015felerini ara\u015ft\u0131r\u0131rken, 1920’lerde Otto Dix ve foto\u011fraf\u00e7\u0131 August Sander gibi sanat\u00e7\u0131lar Neue olarak bilinen ger\u00e7ek\u00e7i, sosyal a\u00e7\u0131dan ele\u015ftirel tarzda \u00e7al\u0131\u015ft\u0131.<\/p>\n

Bu ve di\u011fer geli\u015fmeler, 1933’te Nasyonal Sosyalistlerin y\u00fckseli\u015fiyle durdu. Hitler ve Nazi rejimi, Wassily Kandinsky, Emil Nolde ve Ernst Ludwig Kirchner gibi sanat\u00e7\u0131larla alay etmek amac\u0131yla 1937’de \u2018\u2019Entartete Kunst\u2019\u2019 ( Dejenere Sanat) g\u00f6sterisini d\u00fczenleyerek modern sanat\u0131 k\u0131nad\u0131 . Muhafazakar Alman peyzaj sanat\u0131 bunun yerine ideal bir sanat formu olarak tan\u0131t\u0131ld\u0131.<\/p>\n

\u0130kinci D\u00fcnya Sava\u015f\u0131 sonras\u0131, Do\u011fu Almanya’da bir \u00e7e\u015fit Sosyalist Ger\u00e7ek\u00e7ilik sanatsal prati\u011fi hakim oldu. Ancak Bat\u0131 Almanya’da ise bir\u00e7ok sanat\u00e7\u0131 Soyut D\u0131\u015favurumculuk, Pop art, minimalizm ve Op art gibi avangart ak\u0131mlar\u0131 denedi. 1960’larda Joseph Beuys, “y\u00fcksek sanat” tan\u0131m\u0131na meydan okuyan heykel, performans sanat\u0131 ve enstalasyon sanat\u0131 yaratt\u0131. Ya\u011f ve ke\u00e7e gibi malzemeleri bir araya getiren Beuys’un \u00e7al\u0131\u015fmas\u0131, Pop art’\u0131n sanat\u0131 g\u00fcndelik deneyimin alan\u0131na getirme amac\u0131na y\u00f6nelik bireysel bir yakla\u015f\u0131m\u0131 temsil ediyordu. Belki de 1970’lerin en dikkate de\u011fer Alman, fig\u00fcr\u00fc foto\u011fraflara dayanan resimleri ile tan\u0131nan Gerhard Richter, foto\u011fraf ve resim medyas\u0131 aras\u0131ndaki \u00e7izgileri bulan\u0131kla\u015ft\u0131ran, g\u00fczelce i\u015flenmi\u015f \u00e7al\u0131\u015fmalar\u0131, postmodern sanat\u0131 karakterize edecek geleneksel formlara meydan okumay\u0131 \u00f6ng\u00f6rd\u00fc. Alman sanat\u0131 yine uluslararas\u0131 sanat d\u00fcnyas\u0131n\u0131n merkezindeydi. Neo-Ekspresyonizm, 1980’lerin bask\u0131n uluslararas\u0131 e\u011filimi haline geldi.<\/p>\n

Alman Mimarisi, Alman Sanat Tarihi Mimari \u00d6zellikleri<\/h3>\n

Alman mimarisi, tarihi boyunca Avrupa’n\u0131n ba\u015fka yerlerinden gelen etkileri kendi ulusal karakteriyle birle\u015ftirdi. Orta \u00c7a\u011f\u2019da, hakim olan Romanesk tarz\u0131yd\u0131. 13. y\u00fczy\u0131lda, Gotik \u00fcslup hakim olurken, K\u00f6ln’deki (1248’de ba\u015flad\u0131) ve Strasbourg’daki (1277’de planlanan) katedraller de dahil olmak \u00fczere Almanya’n\u0131n en dikkate de\u011fer yap\u0131lar\u0131ndan baz\u0131lar\u0131 in\u015fa edildi. Gotik ve R\u00f6nesans stillerinin varyasyonlar\u0131 15. ve 16. y\u00fczy\u0131llarda bask\u0131n oldu, ancak Protestan Reformu’ndan sonra ayr\u0131nt\u0131l\u0131 dini yap\u0131lar i\u00e7in komisyonlar bir s\u00fcreli\u011fine azald\u0131. XVII. y\u00fczy\u0131lda, giderek artan miktarda s\u00fcslemenin kiliselerin ve saraylar\u0131n temel \u00f6zelli\u011fi haline gelmesiyle Gotik’in yeniden canlanmas\u0131 ba\u015flad\u0131. Prusya’n\u0131n devlet mimar\u0131 olan Karl Friedrich Schinkel’in romantik renklere sahip Neoklasizm\u2019i 1815’te somutla\u015ft\u0131rd\u0131. Radikal mimari bu d\u00f6nemde genel olarak bast\u0131r\u0131lm\u0131\u015f olsa da, k\u0131smen Jugendstil hareketinden esinlenen baz\u0131 mimarlar Henry van de Velde ve Peter Behrens gibi fig\u00fcrler, y\u00fczy\u0131l\u0131n ba\u015f\u0131nda moderniteden \u00e7ok kopuk g\u00f6r\u00fcnen mimarinin ge\u00e7erlili\u011fini sorgulad\u0131lar; bu t\u00fcr sorgulama, XX. y\u00fczy\u0131lda Alman mimarisini karakterize eden radikal deneylerin kap\u0131s\u0131n\u0131 a\u00e7t\u0131.<\/p>\n

\u00c7a\u011fda\u015f Alman mimarisi, 1920’lerde Weimar’da ortaya \u00e7\u0131kan ve Walter Gropius ve Ludwig Mies van der Rohe isimleriyle ili\u015fkilendirilen Bauhaus okuluydu. Sava\u015f sonras\u0131 y\u0131llarda, Bauhaus okulunun dogmalar\u0131 – stilin i\u015flevle kat\u0131 uyumu ve malzemelerin i\u00e7sel g\u00fczelli\u011fi \u00fczerindeki \u0131srar\u0131n yan\u0131 s\u0131ra dekoratifli\u011fe kar\u015f\u0131 p\u00fcriten bir k\u00fc\u00e7\u00fcmseme de vard\u0131. Yine de Bat\u0131 Almanya’da, 1960’larda ve 1970’lerde ba\u015fka yerlerde oldu\u011fu gibi, kat\u0131 Bauhaus tarz\u0131, “sadece i\u015flev de\u011fil, ayn\u0131 zamanda kurgu” olarak da kabul edilen, daha \u00f6zg\u00fcr bir postmodernizm\u2019e boyun e\u011fmeye ba\u015flad\u0131. Bu okulun \u00f6nde gelen temsilcileri aras\u0131nda Josef Paul Kleihues, Oswald Mathias Ungers ve Rob ve Leon Krier karde\u015fler bulunmaktad\u0131r.<\/p>\n

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Alman Mimarisi, Alman Sanat Tarihi Mimari \u00d6zellikleri, Berlin<\/p><\/div>\n

Mimari geli\u015fmeler Do\u011fu Almanya, Sovyet ideolojik ilkelerinin ve modellerinin etkisini yans\u0131t\u0131yordu. Do\u011fu b\u00f6lgesindeki binalar, oranlar\u0131n\u0131n \u00e7oklu\u011fu bak\u0131m\u0131ndan Bat\u0131 Almanya’dakilerden farkl\u0131d\u0131r. Do\u011fudaki ba\u015fl\u0131ca g\u00f6steri par\u00e7alar\u0131 Berlin, Unter den Linden, Marx-Engels-Platz, Alexanderplatz ve Karl-Marx-Allee boyunca h\u00fck\u00fcmet binalar\u0131, apartman bloklar\u0131, oteller ve kamusal alanlar ve \u015fa\u015f\u0131rt\u0131c\u0131 derecede zarafetsiz Leipziger-Strasse ve bunlar\u0131n abart\u0131l\u0131 dekorasyonlar\u0131na tan\u0131kl\u0131k ediyor. Kom\u00fcnist rejimdeki mimari, ister yatay ister dikey olsun, a\u015f\u0131r\u0131 boyutlarla de\u011fil, ayn\u0131 zamanda nadiren renk k\u0131rpmayla hafifletilen monoton beyaz cephelerle de hemen tan\u0131nabilir. \u0130deolojik fakt\u00f6rlerin m\u00fcdahale etti\u011fi yerler d\u0131\u015f\u0131nda (Berlin Saray\u0131n\u0131n y\u0131k\u0131lmas\u0131nda oldu\u011fu gibi), Do\u011fu Alman h\u00fck\u00fcmeti tarihi binalar\u0131n korunmas\u0131 konusunda makul bir sicile sahipti.<\/p>\n

Do\u011fu ve Bat\u0131 Almanya\u2019n\u0131n birle\u015fmeden sonra uzun zamand\u0131r sessiz olan Berlin’in kalbindeki Potsdamer Platz bir zamanlar Berlin’in ekonomik ve idari hayat\u0131n\u0131n odak noktalar\u0131ndan biri, Renzo Piano , Helmut Jahn ve Richard Rogers gibi uluslararas\u0131 \u00fcne sahip mimarlar taraf\u0131ndan bir dizi kamu ve \u00f6zel binalar\u0131n in\u015fas\u0131 ile canland\u0131 . Biraz sert sanatsal ve politik tart\u0131\u015fmalardan sonra, b\u00f6lgede Peter Eisenman taraf\u0131ndan tasarlanan bir Holokost an\u0131t\u0131 a\u00e7\u0131ld\u0131.<\/p>\n

Alman Sanat Tarihi M\u00fczeler ve Galeriler<\/h3>\n

Almanya binlerce m\u00fczesiyle, d\u00fcnyan\u0131n en b\u00fcy\u00fck resim ve heykel koleksiyonlar\u0131ndan veya arkeolojik ve bilimsel sergilerden baz\u0131lar\u0131n\u0131 bar\u0131nd\u0131r\u0131r. \u00d6nemli m\u00fczeler ve galeriler aras\u0131nda; Berlin’deki Prusya K\u00fclt\u00fcr Varl\u0131klar\u0131 Vakf\u0131 – yani,Pergamon M\u00fczesi, Eski (Altes) M\u00fczesi, Yeni (Neues) M\u00fczesi, Ulusal Galeri (Nationalgalerie) ve Bode Museum-Zwinger M\u00fczesi ve i\u00e7inde (Gottfried Semper taraf\u0131ndan in\u015fa edilmi\u015f) Resim Galeri Dresden , Bavyera Devlet Resim Galerileri ve Deutsches Museum in M\u00fcnih , Alman Ulusal M\u00fczesi N\u00fcrnberg\u2019de , Roma-Germen Merkez M\u00fczesi Mainz ait Senckenberg M\u00fczesi Frankfurt am Main’deki do\u011fa bilimleri ve Eyalet Galerisi Stuttgart’ta. Baz\u0131 m\u00fczeler son derece uzmanla\u015fm\u0131\u015ft\u0131r, tek bir sanat\u00e7\u0131ya, okula veya t\u00fcre adanm\u0131\u015ft\u0131r, ancak \u00e7o\u011fu do\u011fa bilimi ile g\u00fczel sanatlar\u0131 birle\u015ftirir. Stuttgart’taki Linden M\u00fczesi, Regensburg’daki Do\u011fu Alman Galeri M\u00fczesi ve Berlin-Dahlem’deki Etnoloji M\u00fczesi gibi bir\u00e7ok etnoloji m\u00fcze ve daha bir \u00e7ok k\u00fct\u00fcphaneler, ar\u015fivler, kaleler, katedraller, kiliseler ve manast\u0131rlar bulunmaktad\u0131r. Berlin-Dahlem Botanik Bah\u00e7esi ve Botanik M\u00fczesi, XVII y\u00fczy\u0131lda kurulan Alman’\u0131n eski botanik bah\u00e7esidir. Alman sanat tarihi olduk\u00e7a \u00e7e\u015fitli eserlerler doludur.<\/p>\n

Die Br\u00fccke (K\u00f6pr\u00fc)<\/h3>\n

1905’te Dresden’de bir grup Alman d\u0131\u015favurumcu sanat\u00e7\u0131 “Die Br\u00fccke” yi kurdu. Die Br\u00fccke<\/a> bazen Fauvism ile kar\u015f\u0131la\u015ft\u0131r\u0131l\u0131r.<\/p>\n

Her iki hareket de ilkel sanata ve al\u0131\u015f\u0131lmad\u0131k renk kullan\u0131m\u0131yla a\u015f\u0131r\u0131 duygular\u0131 ifade etmeye ilgi duyuyordu. Hem Die Brucke hem de Fauvism kaba \u00e7izimlere y\u00f6neldi ve yine de tamamen soyutlamay\u0131 reddettiler \u00e7\u00fcnk\u00fc resimlerinin duygu g\u00f6stermesi onlar i\u00e7in \u00f6nemliydi. Bununla birlikte, Die Br\u00fccke sanat\u00e7\u0131lar\u0131n\u0131n \u015fehir sokaklar\u0131n\u0131n resimleri ve cinsel i\u00e7erikli sahneler, Fauvism’i kar\u015f\u0131la\u015ft\u0131rarak evcille\u015ftiriyor.<\/p>\n

Die Brucke’nin kurucu \u00fcyeleri Fritz Bleyl (1880\u20131966), Erich Heckel (1883\u20131970), Ernst Ludwig Kirchner<\/a> (1880\u20131938) ve Karl Schmidt-Rottluff (1884\u20131976) idi. Daha sonra 1906’da Emil Nolde (1867\u20131956) ve Max Pechstein (1881\u20131955) kat\u0131ld\u0131. Otto Mueller (1874\u20131930) 1910’da kat\u0131ld\u0131. Grubun 20. y\u00fczy\u0131lda modern sanat\u0131n evrimi ve Ekspresyonizm \u00fczerinde g\u00fc\u00e7l\u00fc bir etkisi oldu.<\/p>\n

D\u00f6rt kurucu \u00fcye Jugendstil mimarisiydi ve Kirchner ve Bleyl’in 1901’de \u00e7al\u0131\u015fmaya ba\u015flad\u0131klar\u0131 ve ilk d\u00f6nemlerinde yak\u0131n arkada\u015f olduklar\u0131 Dresden’deki K\u00f6nigliche Technische Hochschule (teknik \u00fcniversite) arac\u0131l\u0131\u011f\u0131yla tan\u0131\u015ft\u0131lar. Sanat\u0131, do\u011fay\u0131 ve radikal ideolojiyi tart\u0131\u015ft\u0131lar.<\/p>\n

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Die Br\u00fccke<\/p><\/div>\n

Die Br\u00fccke sanat\u00e7\u0131lar\u0131, geleneksel akademik sanat tarz\u0131n\u0131 reddetmeyi ve ge\u00e7mi\u015f ile g\u00fcn\u00fcm\u00fcz sanatsal hareketleri aras\u0131nda bir k\u00f6pr\u00fc (dolay\u0131s\u0131yla ad\u0131) bulmay\u0131 ama\u00e7lad\u0131lar. Albrecht D\u00fcrer, Matthias Gr\u00fcnewald ve Lucas Cranach the Elder’a sayg\u0131lar\u0131n\u0131 sundular, ancak \u00e7a\u011fda\u015f uluslararas\u0131 avangart hareketlerden yeni fikirleri dahil etmek istediler.<\/p>\n

Grup, grav\u00fcr bask\u0131lar gibi eski medyay\u0131 canland\u0131rd\u0131 ve linocut bask\u0131 tekni\u011fini icat etti, ancak o zamanlar \u00e7al\u0131\u015fmalar\u0131n\u0131 geleneksel grav\u00fcr olarak tan\u0131mlad\u0131. Canl\u0131 renkler, duygusal gerilim, \u015fiddet \/ cinsel imgeleme dayal\u0131 ortak bir tarz geli\u015ftirdiler ve ilkelcilikten etkiler ald\u0131lar. Ba\u015flang\u0131\u00e7ta Dresden’de kentsel konuya odakland\u0131lar, ancak Mueller’in d\u00fczenledi\u011fi geziler sayesinde g\u00fcney Almanya’ya seferler yapmaya ba\u015flad\u0131lar. Bu geziler epeyce \u00e7\u0131plak ve k\u0131rsal sahneler \u00fcretti.<\/p>\n

Grup \u00fcyeleri ba\u015flang\u0131\u00e7ta kendilerini Dresden burjuva ge\u00e7mi\u015flerinden “izole etmeye” ve kendilerini i\u015f\u00e7i s\u0131n\u0131f\u0131 ve bohemlerle \u00e7evrelemeye \u00e7al\u0131\u015ft\u0131lar. Erich Heckel, Friedrichstadt’daki Berlinerstrasse’deki bo\u015f bir kasap d\u00fckkan\u0131n\u0131 st\u00fcdyo olarak kiralad\u0131. Fritz Bleyl st\u00fcdyoyu \u015f\u00f6yle tan\u0131mlad\u0131: “Her yerde duran resimler, \u00e7izimler, kitaplar ve sanat\u00e7\u0131n\u0131n malzemeleriyle dolu ger\u00e7ek bir bohem.<\/p>\n

Sosyal \u00e7evrelerinden modeller kulland\u0131lar, genellikle profesyoneller yerine sevgililer. H\u0131z\u0131 ve kendili\u011findenli\u011fi te\u015fvik etmek i\u00e7in 15 dakikal\u0131k pozlar kulland\u0131lar. Fritz Bleyl b\u00f6yle bir modeli, mahalleden on be\u015f ya\u015f\u0131ndaki bir k\u0131z \u00e7ocu\u011fu olan Isabella’y\u0131 “\u00e7ok canl\u0131, g\u00fczel yap\u0131l\u0131, ne\u015feli, korsenin aptal modas\u0131n\u0131n neden oldu\u011fu herhangi bir deformasyona u\u011framayan ve sanatsal taleplerimize tamamen uygun bir birey olarak tan\u0131mlad\u0131. \u00f6zellikle de k\u0131z gibi tomurcuklar\u0131n\u0131n \u00e7i\u00e7ek a\u00e7mas\u0131 durumunda. ”<\/p>\n

Die Br\u00fccke sanat\u00e7\u0131lar\u0131 bir manifesto (\u00e7o\u011funlukla Kirchner taraf\u0131ndan yaz\u0131lm\u0131\u015ft\u0131r) haz\u0131rlad\u0131lar, bu manifesto daha sonra ah\u015faba oyuldu, b\u00f6ylece seri \u00fcretebildiler. Manifesto, “i\u015fimizde ve hayat\u0131m\u0131zda \u00f6zg\u00fcrl\u00fck, eski, yerle\u015fik g\u00fc\u00e7lerden ba\u011f\u0131ms\u0131z olmak isteyen” yeni bir nesli \u00f6ne s\u00fcr\u00fcyordu.<\/p>\n

Jugendstil<\/h3>\n

1890’lar\u0131n ortalar\u0131nda Jugendstil olarak bilinen sanatsal ve mimari bir tarz ortaya \u00e7\u0131kt\u0131. Asl\u0131nda Art Nouveau hareketinin Alman koluydu. Tarz 1910’a kadar devam etti. Tarz, ad\u0131n\u0131 M\u00fcnih dergisi “Die Jugend” den alm\u0131\u015ft\u0131r.<\/p>\n

Sanat tarih\u00e7ileri, Jugendstil hareketinde esasen iki a\u015faman\u0131n bulundu\u011fu konusunda hemfikirdir.<\/p>\n

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Jugendstil<\/p><\/div>\n

Novembergruppe (Kas\u0131m Grubu)<\/h3>\n

Novembergruppe, Alman d\u0131\u015favurumcu sanat\u00e7\u0131 ve mimarlardan olu\u015fan bir gruptu. 3 Aral\u0131k 1918’de kurulan ismini, devrimci ve isyanc\u0131 olarak kabul edilmek istedikleri i\u00e7in Alman Devrimi ay\u0131ndan ald\u0131lar. Novembergruppe sanat\u00e7\u0131lar\u0131, sanat\u0131n nas\u0131l \u00f6\u011fretildi\u011fini ve kanunlar\u0131n sanat\u00e7\u0131lar\u0131 nas\u0131l etkiledi\u011fini de\u011fi\u015ftirmeye \u00e7al\u0131\u015fan kendilerini radikal ve devrimci olarak tan\u0131mlad\u0131lar. Radikal sanat\u00e7\u0131lar, sanat okullar\u0131n\u0131n organizasyonunda ve sanat\u00e7\u0131larla ilgili yeni yasalarda daha fazla s\u00f6z sahibi olmak i\u00e7in kampanya y\u00fcr\u00fctt\u00fcler. Alman sanat tarihi \u00f6ne \u00e7\u0131kan gruplardan biridir.<\/p>\n

Sanat\u00e7\u0131lar aras\u0131ndaki stil bollu\u011fu, herhangi bir stil olarak s\u0131n\u0131fland\u0131rmay\u0131 zorla\u015ft\u0131r\u0131yor. Bi\u00e7imsel olarak grup, K\u00fcbizm, F\u00fct\u00fcrizm ve \u0130fade’nin bir f\u00fczyonuydu.<\/p>\n

\u00c7o\u011funlukla ressamlar C\u00e9sar Klein ve Max Pechstein (iki eleba\u015f\u0131) taraf\u0131ndan kurulan d\u0131\u015favurumcu sanat tarzlar\u0131, ortak sosyalist etiklerini de i\u00e7eriyordu. Di\u011fer kurucu \u00fcyeler aras\u0131nda ressamlar Georg Tappert, Moriz Melzer ve Heinrich Richter vard\u0131.<\/p>\n

\"\"

Novembergruppe (Kas\u0131m Grubu), Alman Sanat Tarihi<\/p><\/div>\n

12 Mart 1918’deki ilk Novembergruppe toplant\u0131s\u0131na Karl Jakob Hirsch, Bernhard Hasler, Richard Janthur, Rudolf Bauer, Bruno Krauskopf, Otto Freundlich, Wilhelm Schmid, heykelt\u0131ra\u015f Rudolf Belling ve mimar Erich Mendelsohn kat\u0131ld\u0131. Bu onlar\u0131n ilk \u00e7al\u0131\u015fma komitesi oldu.<\/p>\n

Ama\u00e7lar\u0131 Arbeitsrat f\u00fcr Kunst’a benzedi\u011finden, Novembergruppe Almanya’da sosyalist bir devrimi desteklemeyi ama\u00e7lad\u0131.<\/p>\n

Temel hedefleri, Alman toplumunun kamusal ve k\u00fclt\u00fcrel y\u00f6nlerini etkileyerek insanlara sanat\u0131 getirmekti. S\u0131k s\u0131k sanat festivalleri, kost\u00fcm partileri, st\u00fcdyo turlar\u0131, edebi ve m\u00fczik etkinlikleri ve ayr\u0131ca Haziran 1924’teki B\u00fcy\u00fck Berlin Sanat Sergisi d\u00fczenlediler.<\/p>\n

Sanat Ak\u0131m\u0131 i\u00e7indeki b\u00f6l\u00fcnmeler<\/h3>\n

1921’de Novembergruppe’nin a\u015f\u0131r\u0131 sol kanad\u0131ndan sanat\u00e7\u0131lar, sanat\u00e7\u0131lar\u0131n “burjuva geli\u015fimine” bir son verilmesi \u00e7a\u011fr\u0131s\u0131nda bulundular.<\/p>\n

Baz\u0131 sanat\u00e7\u0131lar\u0131n, yani do\u011fru Novembergruppe’un \u00e7ok fazla para kazand\u0131\u011f\u0131na inan\u0131yorlard\u0131. Sol kanat \u00fcyeleri bir bildiri imzalad\u0131lar. \u0130mzac\u0131lar Otto Dix, George Grosz, Raoul Hausmann, John Heartfield, Hannah H\u00f6ch, Rudolf Schlichter ve Georg Scholz’du.<\/p>\n

1922’ye gelindi\u011finde gruptaki bu b\u00f6l\u00fcnme, grubun ayr\u0131 gruplar haline gelmesine ve Deutschland’daki Kartell fortschrittlicher K\u00fcnstlergruppen (Almanya’daki geli\u015fmi\u015f sanat gruplar\u0131n\u0131n karteli) dahil olmak \u00fczere yeni k\u00fc\u00e7\u00fck gruplar\u0131n olu\u015fmas\u0131na yol a\u00e7t\u0131. Hareket b\u00fcy\u00fcd\u00fck\u00e7e, m\u00fczisyenler Max Butting ve Hans Heinz Stuckenschmidt de dahil olmak \u00fczere di\u011fer sanat alanlar\u0131ndan insanlar\u0131 cezbetti.<\/p>\n

Alman sanat tarihi, b\u00fcy\u00fck ustalar\u0131 ve b\u00fcy\u00fck toplumsal sanc\u0131lar\u0131 da i\u00e7inde ta\u015f\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Alman Sanat Tarihi Alman sanat tarihi, g\u00f6rsel sanatlar, mimari, edebiyat gibi alanlarda d\u00fcnya sanat tarihinde \u00f6nemli bir yer tutar. Alman d\u00fc\u015f\u00fcncesini anlamak i\u00e7in derin bir incelemeye gerek vard\u0131r. Alman G\u00f6rsel Sanatlar\u0131 Almanya, g\u00f6rsel sanatlarda g\u00fc\u00e7l\u00fc ve zengin bir gelene\u011fe sahiptir. Fransa ve Almanya’da pop\u00fcler olan Gotik tarzda resimler ve heykeller, genellikle kiliseleri s\u00fcslemek i\u00e7in yap\u0131ld\u0131 […]<\/p>\n","protected":false},"author":1,"featured_media":12995,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[124],"tags":[],"class_list":["post-12990","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nAlman Sanat Tarihi - Arthipo<\/title>\n<meta name=\"description\" content=\"Alman Sanat Tarihi Alman Mimarisi \u00d6zellikleri g\u00f6rsel sanatlar resim heykel M\u00fczeler Galeriler Novembergruppe Kas\u0131m Grubu Die Brucke Jugendstil\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/alman-sanat-tarihi.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alman Sanat Tarihi - 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