{"id":13176,"date":"2021-09-17T01:31:41","date_gmt":"2021-09-16T22:31:41","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=13176"},"modified":"2021-09-17T01:31:41","modified_gmt":"2021-09-16T22:31:41","slug":"ingiliz-sanat-tarihi","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/ingiliz-sanat-tarihi.html","title":{"rendered":"\u0130ngiliz Sanat Tarihi"},"content":{"rendered":"

\u0130ngiliz Sanat Tarihi, Geli\u015fimi, \u00d6nemli D\u00f6nemleri<\/h2>\n

\u0130ngiliz sanat tarihi, bir ka\u00e7 fakl\u0131 k\u0131tada s\u00fcregelen ve bir \u00e7ok alt k\u00fclt\u00fcr\u00fcn etkilerini i\u00e7inde ta\u015f\u0131yan zengin bir k\u00fclt\u00fcrd\u00fcr. G\u00fcn\u00fcmzde hala sanat eserlerin en yo\u011fun talebin bulundu\u011fu \u00fclkelerden biridir. Birle\u015fik Krall\u0131k yani \u0130ngiltere’sa sanat tarihini birka\u00e7 farkl\u0131 d\u00f6neme ay\u0131rarak inceleyece\u011fiz.<\/p>\n

Erken D\u00f6nem \u0130ngiliz Sanat\u0131 Geli\u015fimi<\/h3>\n

\u0130ngiliz sanat\u0131n\u0131n en eski \u00f6rneklerinden baz\u0131lar\u0131 Anglosakson d\u00f6neminin g\u00f6rkemli metal i\u015f\u00e7ili\u011finden ve erken Orta \u00c7a\u011f d\u00f6nemine ait ta\u015f kiliseler, manast\u0131rlar ve kalelerden gelmektedir. Karma\u015f\u0131k desenli dantelleriyle \u00fcnl\u00fc Lindisfarne \u0130ncilleri (MS 690-750) dahil olmak \u00fczere \u00e7ok nadir, erken dekoratif eserler, Sakson \u0130ngiltere’deki kiliselerde de bulundu. Orijinal i\u00e7 mekanlar\u0131n\u0131n k\u00fc\u00e7\u00fck kal\u0131nt\u0131lar\u0131 olsa da Exeter Katedrali (Aziz Peter Katedrali Kilisesi) gibi binalar bug\u00fcn hala erken Gotik mimarisinin bir \u00f6rne\u011fi olarak duruyor. Katedralin Norman Kuleleri 1133 y\u0131l\u0131nda tamamlan\u0131rken, bat\u0131 cephesi g\u00f6r\u00fcnt\u00fc ekran\u0131 Orta \u00c7a\u011f \u0130ngiltere’sinin en b\u00fcy\u00fck mimari \u00f6zelliklerinden biri olarak kabul edilir.<\/p>\n

Sanat tarih\u00e7isi EH Gombrich’e g\u00f6re sanat\u00e7\u0131lar (ya da daha do\u011frusu zanaatk\u00e2rlar o zamanlar san\u0131ld\u0131klar\u0131 \u015fekliyle) el\u00e7ilerin ve Meryem Ana’n\u0131n “eski kitaplardan kopyalanm\u0131\u015f ve yeniden d\u00fczenlenmi\u015f” resimlerini yaratmaya ba\u015flad\u0131lar. Yine de orta \u00e7a\u011flarda (MS 410-1485) \u00fcretilen dekoratif ve dini sanatlar\u0131n \u00e7o\u011fu, Kral VIII.Henry’nin \u0130ngiliz Reformu alt\u0131nda manast\u0131rlar\u0131 \u00e7\u00f6zmesiyle ba\u015flayan ikonoklazm y\u00fczy\u0131l\u0131 s\u0131ras\u0131nda yok edildi. Protestan Kilisesi’ni kurarken (ve b\u00f6ylece Roma Katolikli\u011finin kural\u0131ndan koparak) h\u00fck\u00fcmdar, kiliselerde ve katedrallerde bar\u0131nd\u0131r\u0131lan sanat\u0131n yok edilmesini onaylad\u0131 ve binlerce heykel, resim, oyma ve vitray pencereler par\u00e7alan\u0131p yak\u0131ld\u0131.<\/p>\n

\u0130ngiliz Sanat Tarihi R\u00f6nesans D\u00f6nemi<\/h3>\n

\u0130ngiliz R\u00f6nesans\u0131 d\u00f6nemi (yakla\u015f\u0131k 1520 – 1620) , oyun yazarlar\u0131na ve \u015fairlere g\u00f6rsel sanat\u00e7\u0131lardan daha y\u00fcksek toplumsal stat\u00fc verildi\u011fi i\u00e7in erken \u0130talyan R\u00f6nesans\u0131ndan farkl\u0131yd\u0131 . Bununla birlikte, g\u00f6rsel sanatlarda, Katolik kilisesinin kal\u0131nt\u0131s\u0131 olarak yayg\u0131n \u015fekilde \u015feytanla\u015ft\u0131r\u0131lan dini resim, Tudor hanedan\u0131n\u0131n te\u015fvik edilmesinde bask\u0131n bir rol \u00fcstlenen portre taraf\u0131ndan ge\u00e7ildi (1485-1603). Ama asl\u0131nda \u0130ngiltere’de \u00e7al\u0131\u015fan bir Alman ressam, \u0130ngiliz R\u00f6nesans\u0131n\u0131n en b\u00fcy\u00fck sanat\u00e7\u0131lar\u0131ndan biri haline geldi. Henry VIII’in saray ressam\u0131 Hans Holbein, kral\u0131 idealle\u015ftirerek yapt\u0131\u011f\u0131 Tudor \u00e7a\u011f\u0131n\u0131 hayata ge\u00e7irmek i\u00e7in en \u00e7ok \u015fey yapan sanat\u00e7\u0131yd\u0131.<\/p>\n

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Hans Holbein, \u0130ngiliz Sanat Tarihi R\u00f6nesans D\u00f6nemi, Birle\u015fik Krall\u0131k \u0130ngiltere Sanat Tarihi<\/p><\/div>\n

Elizabeth d\u00f6nemine ge\u00e7i\u015f (Henry VIII ve Anne Boleyn’in k\u0131z\u0131, Elizabeth I, 1558’de ta\u00e7land\u0131r\u0131ld\u0131), portresinden yans\u0131mam\u0131\u015f olsa da beraberinde b\u00fcy\u00fck bir sosyal karga\u015fa d\u00f6nemi getirdi. Nitekim, portre resminin pop\u00fclerli\u011fi artarken, daha \u00f6nce kendilerini kilisede istihdam edilmi\u015f bulan sanat\u00e7\u0131lar, dini resmin sakin hiyeratik niteli\u011fini de beraberinde getirdiler. Bu d\u00f6nemden kalma \u0130ngiliz y\u00f6netici s\u0131n\u0131flar\u0131n\u0131n \u00e7ok say\u0131da portreleri vard\u0131r, ancak onlar\u0131 boyayan erkekler (veya kad\u0131nlar) hakk\u0131nda nispeten az \u015fey bilinmektedir. 1581’de Krali\u00e7e’nin Serjeant Ressam\u0131 olarak atanan ilk \u0130ngiliz olan George Gower’a az say\u0131da portre atfedilmi\u015ftir. En iyi portrelerin t\u00fcm kibarca ve incelikli nitelikleriyle a\u015f\u0131lanm\u0131\u015f olsa da Gower’\u0131n \u00e7al\u0131\u015fmas\u0131; Elizabeth d\u00f6nemi mimarisi, Reform sonras\u0131 Britanya’n\u0131n zafer ve miras arad\u0131\u011f\u0131 bir d\u00f6nemi yans\u0131tma e\u011filimindeydi.<\/p>\n

On Yedinci Y\u00fczy\u0131l ve Ayd\u0131nlanma’n\u0131n \u0130ngiliz Sanat Tarihi \u00dczerine Etkileri<\/h3>\n

On yedinci y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131 bilimdeki geli\u015fmeleri g\u00f6rd\u00fc ve (b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Christopher Wren \u00f6nc\u00fcl\u00fc\u011f\u00fcnde) sanat\u00e7\u0131lar ve d\u00fc\u015f\u00fcn\u00fcrler t\u00fcm bilgilerin kayna\u011f\u0131 olarak do\u011fal d\u00fcnyaya bakmaya ba\u015flad\u0131lar. C. Wren, bir pire ve bir bit gibi b\u00fcy\u00fct\u00fclm\u00fc\u015f yarat\u0131klar\u0131n \u00e7izimlerini \u00fcretirken, Peter Lely \u015fehvetli \u00e7\u0131plaklar\u0131yla halk\u0131 \u015fok etti.<\/p>\n

1690’lar\u0131n Londra’s\u0131 Bat\u0131 d\u00fcnyas\u0131n\u0131n en b\u00fcy\u00fck metropol\u00fc haline gelen 1690’lar\u0131n Londra’s\u0131, “bilimsel ak\u0131l” \u00e7a\u011f\u0131n\u0131n do\u011fu\u015fu ile ayn\u0131 zamana denk geldi ve \u00fclkenin her yerinden gezginler, de\u011fi\u015fen \u015fehirde ya\u015famaya ba\u015flad\u0131lar. Servetler portreci ve hicivci William Hogarth taraf\u0131ndan belgelendi. Hogarth, bir \u0130ngiliz Sanat Okulu yaratan ilk ki\u015fi olarak kabul edildi. Onun “modern ahlaki konular\u0131” sadece a\u00e7\u0131k s\u00f6zl\u00fc konular\u0131 a\u00e7\u0131s\u0131ndan de\u011fil, ayn\u0131 zamanda sanat\u00e7\u0131n\u0131n rol\u00fc a\u00e7\u0131s\u0131ndan da \u00e7\u0131\u011f\u0131r a\u00e7\u0131c\u0131yd\u0131. Nitekim Hogarth, kendisini finansal olarak (varl\u0131kl\u0131 patronajdan ba\u011f\u0131ms\u0131z olarak) destekleyen ilk sanat\u00e7\u0131yd\u0131 ve rol\u00fc, onu takip eden sanat\u00e7\u0131lar\u0131n \u00e7o\u011fu i\u00e7in bir emsal olu\u015fturdu. Ayd\u0131nlanma felsefesi, George Stubbs’\u0131n anatomik olarak kesin at resimlerinde de g\u00f6r\u00fclebilir. Bu arada ba\u015fkentten uzakta, Ayd\u0131nlanma temalar\u0131, sanat\u0131n\u0131 daha \u00e7ok teatral olsa da Sanayi Devrimi’nin bilim adamlar\u0131, sanayicileri ve mucitleriyle ayn\u0131 hizaya getiren Derby’li Joseph Wright taraf\u0131ndan a\u00e7\u0131k bir \u015fekilde ara\u015ft\u0131r\u0131ld\u0131. D. J. Wright asl\u0131nda end\u00fcstriyel sahneleri ve dramatik etki i\u00e7in \u0131\u015f\u0131kland\u0131rmay\u0131 kullanmas\u0131yla tan\u0131nd\u0131. (D. J. Wright’\u0131n portre sanat\u00e7\u0131s\u0131 olmay\u0131 arzulad\u0131\u011f\u0131 ancak Thomas Gainsborough’nun \u00e7al\u0131\u015fmas\u0131n\u0131 g\u00f6rmekten cayd\u0131r\u0131ld\u0131\u011f\u0131 s\u00f6ylendi.)<\/p>\n

Kraliyet Akademisi<\/h3>\n

Akademi fikri, Platon’un felsefe \u00f6\u011fretmek i\u00e7in bir okul kurdu\u011fu M\u00d6 4. y\u00fczy\u0131la kadar uzan\u0131r. Raphael, 1509’da Atina Okulu ile ayn\u0131 \u015feyi yapt\u0131. Kurulu\u015fundan k\u0131sa bir s\u00fcre sonra, merkezi akademiler ile devlet aras\u0131ndaki \u00f6nemli ba\u011flant\u0131lar\u0131 ve pop\u00fclerlikleri 18. y\u00fczy\u0131lda Avrupa’ya yay\u0131ld\u0131. Akademiler, ulusal resim ve heykel okullar\u0131n\u0131n geli\u015ftirilmesinde hayati \u00f6neme sahipti ve \u00e7o\u011fu sanat\u00e7\u0131 i\u00e7in \u00f6zlem doruk noktas\u0131 olarak kald\u0131. Akademiler ayn\u0131 zamanda yetenekli portreciler ve nat\u00fcrmort ressamlar\u0131 da \u00fcretmesine ra\u011fmen, sanat\u00e7\u0131lar pratik becerilere ek olarak tarih gibi akademik konular\u0131 da \u00f6\u011frendiler \u00e7\u00fcnk\u00fc edebiyat, mitoloji ve \u0130ncil’den konular\u0131 \u00f6d\u00fcn\u00e7 alan tarih resmi en \u00e7ok talep g\u00f6ren t\u00fcr olarak g\u00f6r\u00fcl\u00fcyordu. Akademinin bir ba\u015fka ve en \u00f6nemli i\u015flevi, sanat\u00e7\u0131lara d\u00fczenli bir sergi alan\u0131 sa\u011flamakt\u0131.<\/p>\n

1768’de, aralar\u0131nda d\u00f6rt \u0130talyan, bir Frans\u0131z, bir \u0130svi\u00e7reli ve iki kad\u0131n\u0131n da yer ald\u0131\u011f\u0131 36 sanat\u00e7\u0131 ve mimardan olu\u015fan bir grup, “Tasar\u0131m Sanat\u0131n\u0131 tan\u0131tmak i\u00e7in bir toplum kurmak” i\u00e7in Kral III. George’a verilen bir dilek\u00e7e imzalad\u0131. Royal Academy of Arts veya bilinen ad\u0131yla RA – onun onay\u0131n\u0131 ald\u0131ktan sonra, se\u00e7ilmi\u015f bir Ba\u015fkan ile sanat\u00e7\u0131lar taraf\u0131ndan y\u00f6netilen ba\u011f\u0131ms\u0131z bir kurum olarak ortaya \u00e7\u0131kt\u0131. 18. y\u00fczy\u0131l ve Kraliyet Akademisyenleri aras\u0131nda Angelica Kauffman, Mary Moser, Thomas Gainsborough ve John Everett Millais yer ald\u0131.<\/p>\n

\u0130ngiliz Sanat Tarihi Romantizm Ak\u0131m\u0131<\/h3>\n

Romantizmin do\u011fu\u015fuyla bir\u00e7ok sanat\u00e7\u0131, Akademi’nin merkezi otoritesini sorgulamaya ba\u015flad\u0131. Nitekim 18. y\u00fczy\u0131l\u0131n sonlar\u0131nda bir\u00e7ok sanat\u00e7\u0131 otoriteyi tamamen reddediyordu. Modernistler, kendileri taraf\u0131ndan eski moda ve can \u00e7eki\u015fen diye reddedilen “akademik” sanata kar\u015f\u0131 bir muhalefet olu\u015fturdular.<\/p>\n

Galli Richard Wilson, Romantik peyzajc\u0131lar aras\u0131nda bir \u00f6nc\u00fc olarak kabul edilir. Frans\u0131z ressam Joseph Vernet’in yak\u0131n bir tan\u0131d\u0131\u011f\u0131 olan Wilson, Claude Lorrain ve Gaspard Dughet’in manzaralar\u0131ndan etkilenmi\u015f ve \u0130ngiliz ve \u0130talyan manzaralar\u0131n\u0131, ona “\u0130ngiliz Claude” (\u0130ngiliz Claude) takma ad\u0131n\u0131 kazand\u0131ran bir \u00fcslupla yorum yapt\u0131.<\/p>\n

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\u0130ngiliz Sanat Tarihi Romantizm Ak\u0131m\u0131<\/p><\/div>\n

Bilimin tarafs\u0131z nesnelli\u011fine ve RA’n\u0131n k\u0131s\u0131tlay\u0131c\u0131 kurallar\u0131na bir tepki olarak Romantizm geli\u015fti. 18. y\u00fczy\u0131l\u0131n sonunda sanat\u00e7\u0131lar, ilham almak i\u00e7in duyular\u0131 ve duygular\u0131 \u00e7a\u011f\u0131rarak i\u00e7e d\u00f6nmeye ba\u015flad\u0131lar. William Blake \u00f6nde gelen Romantik “isyanc\u0131lar” dan biriydi ve sanat ve \u015fiirdeki son derece heyecanl\u0131 ke\u015fifleri, aralar\u0131nda John Constable ve JMW Turner’\u0131n da bulundu\u011fu, muhtemelen \u0130ngiliz tarihinin en b\u00fcy\u00fck iki ressam\u0131 olan yeni nesil sanat\u00e7\u0131lar\u0131n yolunu a\u00e7t\u0131. “\u0130ngiliz Sanat Tarihi, \u0130ngiltere, Birle\u015fik Krall\u0131k sanat tarihi d\u00f6nemleri.”<\/em><\/p>\n

\u0130ngiliz Romantizmindeki y\u00fckseli\u015f, \u0130ngiliz egemenlik tarihindeki yeni Naiplik D\u00f6nemi ile ayn\u0131 zamana denk gelecekti. Ne zaman ba\u015flay\u0131p bitti\u011fi konusunda baz\u0131 anla\u015fmazl\u0131klar olsa da Ulusal Portre Galerisi’ndeki Regency galerilerine giri\u015f, “Britanya’n\u0131n sosyal ve k\u00fclt\u00fcrel ya\u015fam\u0131nda 1789 Frans\u0131z Devrimi’nin ba\u015flang\u0131c\u0131ndan itibaren k\u0131rk y\u0131la uzanan kendine \u00f6zg\u00fc bir d\u00f6nemi anlat\u0131yor.<\/p>\n

Pre-Raphaelite Karde\u015fli\u011fi ve Sanat ve El Sanatlar\u0131 Hareketi<\/h3>\n

John Everett Millais, Dante Gabriel Rossetti ve William Holman Hunt taraf\u0131ndan 1848’de kurulan Pre-Raphaelite Karde\u015fli\u011fi, \u0130ngiliz tarihindeki “resmi” sanata Kadimlerden daha g\u00fc\u00e7l\u00fc bir meydan okuma sundu. \u0130ngiliz Kraliyet Akademisi’nin hakimiyetine ve onun erken \u0130talyan R\u00f6nesans\u0131 ve Klasik Sanat\u0131na bor\u00e7lu olan Viktorya d\u00f6nemi konular\u0131 ve tarzlar\u0131na olan dar tercihine kar\u015f\u0131 olan Pre-Raphaelites, daha \u00f6nceki (Raphael \u00f6ncesi) bir d\u00f6neme bakt\u0131. Grup, R\u00f6nesans \u00f6ncesi ressamlar\u0131n do\u011fay\u0131 ve insan v\u00fccudunu ger\u00e7ek\u00e7i bir \u015fekilde tasvir etmek i\u00e7in daha iyi bir \u015fablon sa\u011flad\u0131\u011f\u0131na ve Orta \u00c7a\u011f sanat\u00e7\u0131lar\u0131n\u0131n 19. y\u00fczy\u0131l\u0131n ortas\u0131ndaki sert ve idealist akademik yakla\u015f\u0131mlara alternatif bir vizyon sundu\u011funa inan\u0131yordu.<\/p>\n

Kad\u0131n Sanat\u00e7\u0131lar<\/h3>\n

Emily Mary Osborn, Viktorya d\u00f6neminde sanat ve sanat e\u011fitiminde kad\u0131n haklar\u0131 kampanyas\u0131yla ilgili en \u00f6nemli sanat\u00e7\u0131yd\u0131. Maddox Caddesi’ndeki Dickinson akademisinde sanat\u00e7\u0131 olarak e\u011fitim ald\u0131 ve 1850’lerde “m\u00fcstehcen karakterlerin” tan\u0131nm\u0131\u015f bir fig\u00fcratif t\u00fcr ressam\u0131 oldu. Barbara Bodichon’un Langham Place \u00e7evresi ve her ikisi de kad\u0131n haklar\u0131 i\u00e7in \u015fiddetle m\u00fccadele eden Kad\u0131n Sanat\u00e7\u0131lar Derne\u011fi ile ili\u015fkilendirildi. 1859’da Osborn, Royal Academy of Arts’a kap\u0131lar\u0131n\u0131 k\u0131z \u00f6\u011frencilere ve 1889’da Kad\u0131nlar\u0131n Oy Hakk\u0131na Y\u00f6nelik Beyannameye a\u00e7mas\u0131 i\u00e7in yap\u0131lan dilek\u00e7enin imzac\u0131lar\u0131ndan biriydi. \u00d6nc\u00fc fotografik portreleriyle tan\u0131nan Julia Margaret Cameron’\u0131n g\u00f6r\u00fcnt\u00fcleri yenilik\u00e7i olarak kabul edildi. Portreleri genellikle bilin\u00e7li olarak odak d\u0131\u015f\u0131yd\u0131.<\/p>\n

\u0130ngiliz M\u00fczesi (British Museum)<\/h3>\n

T\u00fcm “\u00e7al\u0131\u015fkan ve merakl\u0131 ki\u015filere” \u00fccretsiz giri\u015f imkan\u0131 sunan, Bloomsbury’deki Montagu Evi adl\u0131 on yedinci bir konakta yer alan British Museum<\/a>, d\u00fcnyan\u0131n ilk halk m\u00fczesiydi. 1759’da a\u00e7\u0131lan m\u00fczenin k\u00f6kenleri, doktor ve do\u011fa bilimci Sir Hans Sloane’ye bor\u00e7ludur. Hayat\u0131 boyunca 70.000 civar\u0131nda eser toplad\u0131ktan sonra, koleksiyonunu Kral II. George’a ve devlete, hayatta kalan ailesine 20.000 sterlin \u00f6denmesi \u015fart\u0131yla miras b\u0131rakt\u0131. Parlamento \u00f6nerisini kabul etti ve British Museum gerekti\u011fi gibi kuruldu. Orijinal koleksiyon, kitaplardan, el yazmalar\u0131ndan, do\u011fal d\u00fcnyadan \u00f6rneklerden ve \u00e7e\u015fitli madeni paralar, madalyalar, bask\u0131lar ve \u00e7izimlerden olu\u015fuyordu.<\/p>\n

\u0130ngiliz Ulusal Sanat Galerileri<\/h3>\n

British Museum, Britanya’n\u0131n en \u00f6nemli ulusal sanat kurumlar\u0131ndan \u00fc\u00e7\u00fcn\u00fcn kurulu\u015funa tan\u0131k oldu. Ulusal Galeri, Ulusal Portre Galerisi ve Ulusal \u0130ngiliz Sanat\u0131 Galerisi, hepsi Londra’da bulunuyordu. Nisan 1824’te Avam Kamaras\u0131, John Julius Angerstein’\u0131n resim koleksiyonunu 57.000 sterlinlik bir maliyetle sat\u0131n almay\u0131 kabul etti. Sadece 38 resimden olu\u015fan bu sat\u0131n alma, “herkesin e\u011flenmesi ve e\u011fitimi” amac\u0131yla halka a\u00e7\u0131k sergilenecek yeni bir ulusal koleksiyonun \u00f6z\u00fcn\u00fc olu\u015fturacakt\u0131.<\/p>\n

\u0130ngiliz Sanat Tarihi Empresyonizm D\u00f6nemi<\/h3>\n

Amerikal\u0131 John Singer Sargent ve James Whistler, \u0130ngiliz Empresyonist hareketine ilham vermi\u015f olabilir. 1863 Londra’ya gelen Whistler, Walter Richard Sickert ve Wilson Steer’a ders verdi ve aralar\u0131nda 1886’da New English Art Club’\u0131 (NEAC) kurdular. \u00dc\u00e7 y\u0131l sonra, Sickert (post-empresyonistin kurucu \u00fcyesi olacakt\u0131) Camden Town Group, Wilson ve NEAC’\u0131n di\u011fer \u00fcyeleriyle birlikte Londra \u0130zlenimcilerinden olu\u015fan bir sergi d\u00fczenlediler. Bu arada 1885’te Singer Sargent, b\u00fcy\u00fck Claude Monet ile tan\u0131\u015ft\u0131\u011f\u0131 Paris’ten geldi. Sonraki birka\u00e7 y\u0131l i\u00e7inde, \u015eark\u0131c\u0131 Sargent, tart\u0131\u015fmas\u0131z en \u00fcnl\u00fc tablosu olan Karanfil, Lily, Lily, Rose (1885-6) gibi tablolarla \u0130ngiltere’deki Empresyonizme b\u00fcy\u00fck katk\u0131da bulundu. “\u0130ngiliz Sanat Tarihi, \u0130ngiltere, Birle\u015fik Krall\u0131k sanat tarihi d\u00f6nemleri.”<\/em><\/p>\n

Fin de Siecle, Yeni Sanat ve Art Deco Sanat\u0131<\/h3>\n

Sembolizm, Decadent hareketi ve ilgili stilleri, \u00f6zellikle de Art Nouveau’yu tan\u0131mlamak i\u00e7in kullan\u0131lan Frans\u0131zca bir terim olan Fin de Si\u00e8cle, 1890’larda pop\u00fclerli\u011finin zirvesine ula\u015ft\u0131. Y\u00fczy\u0131l sona ererken bu terim k\u0131yamet korkusu duygusunu ifade ediyordu.<\/p>\n

Bloomsbury Grubu<\/h3>\n

Bloomsbury Grubu, Londra’n\u0131n Bloomsbury b\u00f6lgesinde, British Museum’un bulundu\u011fu yere yak\u0131n olan \u0130ngiliz yazar, filozof ve sanat\u00e7\u0131lardan olu\u015fan bir gruptu. Yazarlar ve sanat\u00e7\u0131lar, sanat\u00e7\u0131 Vanessa Bell ve yazar k\u0131z karde\u015fi Virginia Stephen’\u0131n evinde bir \u015feyler i\u00e7mek ve sohbet etmek i\u00e7in bulu\u015furlard\u0131. 1905’te kurulan \u00e7ekirdek grup, sanat\u00e7\u0131 Duncan Grant, John Nash, Henry Lamb, Edward Wadsworth ve sanat ele\u015ftirmeni Roger Fry’dan olu\u015fuyordu.<\/p>\n

\"\"

Bloomsbury Grubu<\/p><\/div>\n

Camden Town Grubu<\/h3>\n

D\u00fczen kar\u015f\u0131t\u0131 M\u00fcttefik Sanat\u00e7\u0131lar Derne\u011fi’nden kurulan The Camden Town Group, ad\u0131n\u0131 \u00fcyelerinin ikamet etti\u011fi kuzey Londra’n\u0131n kozmopolit ve hareketli b\u00f6lgesinden al\u0131yor. Baz\u0131 \u00f6nemli Post-Empresyonist manzaralar \u00fcrettikleri ger\u00e7e\u011fine ra\u011fmen, Gore, Harold Gilman ve Walter Sickert gibi sanat\u00e7\u0131lardan olu\u015fan Grup, modern kentsel ya\u015fam\u0131n ger\u00e7eklerini yans\u0131tmay\u0131 ama\u00e7lad\u0131.<\/p>\n

Girdap<\/h3>\n

\u0130ngiliz ressam, hicivci, ele\u015ftirmen ve filozof Wyndham Lewis ve Amerikal\u0131 \u015fair Ezra Pound taraf\u0131ndan isimlendirilen Girdap\u00e7\u0131lar, Britanya’n\u0131n ilk radikal avangart grubu oldu.<\/p>\n

\u0130ngiliz S\u00fcrrealizmi<\/h3>\n

1930’larda Avrupa’da fa\u015fizmin ortaya \u00e7\u0131k\u0131\u015f\u0131, \u00e7a\u011fda\u015f sanat d\u00fcnyas\u0131n\u0131 tersine \u00e7evirdi. Chris Stephens’in belirtti\u011fi gibi, “sadece avangard ve akademi aras\u0131nda de\u011fil, ayn\u0131 zamanda modern sanat\u00e7\u0131lar aras\u0131nda, fa\u015fizmin y\u00fckseli\u015fine uygun tepki konusunda tart\u0131\u015fmalar da ortaya \u00e7\u0131kt\u0131. Soyut sanat\u00e7\u0131lar, S\u00fcrrealistler ve Sosyal Realistler, hepsi bu siyasi zorunlulu\u011fu yorumlad\u0131lar. Ve \u0130ngiliz S\u00fcrrealizmi<\/a> bu belirsizlik d\u00f6neminde ortaya \u00e7\u0131kt\u0131, \u00e7o\u011funlukla iki grupla s\u0131n\u0131rl\u0131; biri Londra’da; di\u011feri Birmingham’da. \u0130ngiliz \u015fair David Gascoyne 1930’lar\u0131n ba\u015flar\u0131nda Paris’e \u00e7ekildi. Frans\u0131z S\u00fcrrealistlerden esinlenen ve \u0130ngiliz sanat\u00e7\u0131 ve tarih\u00e7i Roland Penrose ve \u015fair Paul Eluard ile yapt\u0131\u011f\u0131 tesad\u00fcfi bir g\u00f6r\u00fc\u015fmenin ard\u0131ndan, \u0130ngiliz ve Frans\u0131z S\u00fcrrealistler aras\u0131nda somut ba\u011flant\u0131lar olu\u015fturmak i\u00e7in yola \u00e7\u0131kt\u0131. Asl\u0131nda, Gascoyne 1935’te “\u0130lk \u0130ngiliz S\u00fcrrealist Manifestosu” nu yazd\u0131.<\/p>\n

Euston Road Okulu<\/h3>\n

William Coldstream, Victor Pasmore ve Claude Rogers taraf\u0131ndan, 20. y\u00fczy\u0131l ortas\u0131nda sol bir politik pozisyondan do\u011farak geleneksel konular\u0131 ger\u00e7ek\u00e7i bir tarzda ele ald\u0131.<\/p>\n

St Ives Okulu<\/h3>\n

St Ives okulu, \u0130ngiliz sanat\u0131ndaki modern ve soyut geli\u015fmelerin merkezi oldu. Okul sanat\u00e7\u0131lar\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131na ilham kayna\u011f\u0131 olan \u0130ngiltere’nin G\u00fcney Bat\u0131s\u0131ndaki West Cornwall, ayn\u0131 zamanda bir\u00e7ok ressam i\u00e7in hac yeri olmu\u015ftur.<\/p>\n

Sava\u015f Sanat<\/h3>\n

H\u00fck\u00fcmet Enformasyon Bakanl\u0131\u011f\u0131’n\u0131n y\u00f6netimi alt\u0131ndaki Ulusal Galeri Direkt\u00f6r\u00fc Kenneth Clark’\u0131n ba\u015fkanl\u0131k etti\u011fi \u0130ngiliz Sava\u015f Dan\u0131\u015fma Plan\u0131 1939’da kuruldu. As\u0131l amac\u0131 propaganda ama\u00e7l\u0131 imgeler yaratmak i\u00e7in sanat\u00e7\u0131lar\u0131n\u0131 sadece poster ve bro\u015f\u00fcrlerden daha fazlas\u0131n\u0131 yapmas\u0131 \u015fart\u0131yla se\u00e7ti. Sava\u015f\u0131n sonunda resmi sava\u015f koleksiyonu 5000’den fazla eserden olu\u015fuyordu.<\/p>\n

“\u0130ngiliz Sanat Tarihi makalede incelenmi\u015ftir. \u0130ngiltere, Birle\u015fik Krall\u0131k sanat tarihi d\u00f6nemleri.”<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u0130ngiliz Sanat Tarihi, Geli\u015fimi, \u00d6nemli D\u00f6nemleri \u0130ngiliz sanat tarihi, bir ka\u00e7 fakl\u0131 k\u0131tada s\u00fcregelen ve bir \u00e7ok alt k\u00fclt\u00fcr\u00fcn etkilerini i\u00e7inde ta\u015f\u0131yan zengin bir k\u00fclt\u00fcrd\u00fcr. G\u00fcn\u00fcmzde hala sanat eserlerin en yo\u011fun talebin bulundu\u011fu \u00fclkelerden biridir. Birle\u015fik Krall\u0131k yani \u0130ngiltere’sa sanat tarihini birka\u00e7 farkl\u0131 d\u00f6neme ay\u0131rarak inceleyece\u011fiz. Erken D\u00f6nem \u0130ngiliz Sanat\u0131 Geli\u015fimi \u0130ngiliz sanat\u0131n\u0131n en eski […]<\/p>\n","protected":false},"author":1,"featured_media":13195,"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-13176","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\n\u0130ngiliz Sanat Tarihi - Arthipo<\/title>\n<meta name=\"description\" content=\"\u0130ngiliz Sanat Tarihi, Geli\u015fimi, \u00d6nemli D\u00f6nemleri R\u00f6nesans\u0131 Empresyonizm s\u00fcrrealizm Pre-Raphaelite Karde\u015fli\u011fi \u0130ngiltere Birle\u015fik Krall\u0131k\" \/>\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\/ingiliz-sanat-tarihi.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u0130ngiliz Sanat Tarihi - 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