{"id":5189,"date":"2016-10-17T21:46:14","date_gmt":"2016-10-17T18:46:14","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=5189"},"modified":"2017-06-07T03:25:50","modified_gmt":"2017-06-07T00:25:50","slug":"georges-seurat","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/unlu-ressamlarin-hayat-hikayeleri\/georges-seurat.html","title":{"rendered":"Georges Seurat – Hayat\u0131 ,sanat g\u00f6r\u00fc\u015f\u00fc ve Eserleri"},"content":{"rendered":"

Georges Seurat (1859 – 1891)<\/span><\/h2>\n
\"ressam<\/a>

Sanat du\u0308zendir. \/\u00a0Georges SEURAT<\/p><\/div>\n

 <\/p>\n

Georges Seurat’\u0131n hayat\u0131<\/h3>\n

2 Aral\u0131k 1859 tarihinde do\u011fan Georges Seurat\u2019n\u0131n \u00e7evresi k\u00fc\u00e7\u00fck burjuvayd\u0131. Dar bir \u00e7evreydi bu. \u00dcstelik babas\u0131 sofuydu. K\u00fc\u00e7\u00fck Georges\u2019u sanata do\u011fru y\u00f6neltecek hi\u00e7 bir etkinin belirtisi yoktu bu \u00e7evrede. Georges bir yandan okula giderken bir yandan da evinin yak\u0131n\u0131ndaki bir yerde ak\u015famlar\u0131 desen kurlar\u0131n\u0131 izliyordu. \u00d6\u011fretmeni Justin Lequien ad\u0131nda bir heykelciydi. \u0130yi bir insand\u0131 ama \u00f6\u011frencilerine tozlanm\u0131\u015f al\u00e7\u0131lar\u0131n \u00e7izgilerini kopya ettirmekten ba\u015fka bir \u015fey yapm\u0131yordu. Seurat okulunu bitirince on dokuz ya\u015f\u0131nda G\u00fczel Sanatlar Okuluna yaz\u0131ld\u0131.<\/p>\n

Seurat, desen okulundaki ak\u015fam kurlar\u0131nda tan\u0131\u015ft\u0131\u011f\u0131 Aman Jeanla beraber b\u00fcy\u00fck ressam Angres\u2019in \u00f6\u011frencilerinden Henrt Lehman\u2019\u0131n derslerini izlediler. Resimle ilgili \u00e7ok \u015fey bilen Lehman ki\u015filikten yoksun bir ressamd\u0131. Seurat da Aman-Jean da bu kasvetli \u00f6\u011fretmenin yan\u0131nda \u00e7ok s\u0131k\u0131l\u0131yorlard\u0131 ki gen\u00e7 de k\u0131sa s\u00fcre sonra G\u00fczel Sanatlar Okulundan ayr\u0131ld\u0131lar.<\/p>\n

\"Georges<\/a>

Georges Seurat, La Grande Jatte’de Bir Pazar G\u00fcn\u00fc<\/p><\/div>\n

Georges SEURAT Yeni Bir Aray\u0131\u015f \u0130\u00e7inde<\/span><\/h3>\n

1879 y\u0131l\u0131nda f\u0131r\u00e7alar\u0131n\u0131 bir yana b\u0131rak\u0131p Brest\u2019de askerli\u011fini yapan Seurat 1880 y\u0131l\u0131nda Paris\u2019te ailesinin evinin yak\u0131n\u0131nda bir at\u00f6lye kiralad\u0131. Garip bir adamd\u0131 Seurat. Aman-Jean\u2019dan ba\u015fka hi\u00e7 bir arkada\u015f\u0131, yak\u0131nl\u0131k kurdu\u011fu hi\u00e7 kimse yoktu. Ne at\u00f6lyeleri dola\u015f\u0131yor, ne de bitmez t\u00fckenmez sanat tart\u0131\u015fmalar\u0131 yap\u0131lan kahvelere gidiyordu. Hi\u00e7 bir ustay\u0131 benimsememi\u015fti. Sanat\u0131n \u00e7ekici ve esrarengiz kap\u0131lar\u0131ndan tek ba\u015f\u0131na girmi\u015fti i\u00e7eri.<\/p>\n

B\u0131kmadan usanmadan Chevreul ad\u0131ndaki fizik\u00e7inin yap\u0131tlar\u0131n\u0131 okuyordu. Bu yap\u0131tlardan biri \u201cDesen Sanatlar\u0131 Grameri\u201d idi. D.N. Rood ad\u0131ndaki Amerikal\u0131n\u0131n \u201cTest-Book of Color\u201d ad\u0131ndaki kitab\u0131 da elinden d\u00fc\u015fm\u00fcyordu. Bir yandan da L\u2019Art dergisinde yay\u0131nlanan ele\u015ftirmeci David Sutter\u2019in de yaz\u0131lar\u0131n\u0131 izliyordu.<\/p>\n

Bu d\u00f6nemde yaln\u0131z f\u00fczenle ve Conte\u0301 kalemiyle \u00e7al\u0131\u015fan Seurat \u0131\u015f\u0131klarla g\u00f6lgeler aras\u0131nda denge kurma\u011fa sava\u015f\u0131yor, esrar dolu \u015fiirli bir iklimi yans\u0131t\u0131yordu \u00e7al\u0131\u015fmalar\u0131. 1883 y\u0131l\u0131nda Salon\u2019da sergiledi\u011fi Aman-Jean\u2019\u0131n portresi bu \u00e7al\u0131\u015fmalar aras\u0131ndad\u0131r.<\/p>\n

\"Georges<\/a>

Georges Seurat, The Maria Honfleur<\/p><\/div>\n

Puantilizm’in Sanat Ak\u0131m\u0131n\u0131n Do\u011fu\u015fu<\/span><\/h3>\n

Seurat\u2019n\u0131n kuramlar\u0131 fizik\u00e7i Chevreul\u2019\u00fcn ilkesine dayan\u0131yordu. Chevreul\u2019\u00fcn a\u00e7\u0131klamas\u0131na g\u00f6re \u2018\u2019renklerin ayn\u0131 zamandaki kar\u015f\u0131tl\u0131\u011f\u0131 demek boyanm\u0131\u015f objelerin fiziksel kompozisyonlar\u0131nda ve kar\u015f\u0131l\u0131kl\u0131 renklerinin yo\u011funlu\u011funda beliren b\u00fct\u00fcn de\u011fi\u015fiklikler\u201d anlam\u0131na geliyordu. Georges Seurat\u2019n\u0131n renklerin ayn\u0131 zamandaki kar\u015f\u0131tl\u0131\u011f\u0131 ile tamamlay\u0131c\u0131lar kuram\u0131 \u00fczerinde yapt\u0131\u011f\u0131 incelemeleri \u201c Empresyonizmi\u201d a\u015fmaktayd\u0131. Chevreul\u2019\u00fcn a\u00e7\u0131klamas\u0131na kar\u015f\u0131 olan empresyonistler bir objenin \u201cger\u00e7ek\u201d rengine ula\u015fman\u0131n imkans\u0131z oldu\u011funu s\u00f6yl\u00fcyorlard\u0131. \u00c7\u00fcnk\u00fc onlara g\u00f6re bu renk yak\u0131n renklerin etkisiyle bi\u00e7imsizle\u015fiyordu. Seurat bu tan\u0131tlaman\u0131n kar\u015f\u0131s\u0131ndayd\u0131. Empresyonistler \u00a0empresyonistlerin yapt\u0131\u011f\u0131 her \u015feyi yeni ba\u015ftan ele alaca\u011f\u0131n\u0131\u201d s\u00f6yl\u00fcyordu durmadan ve bu s\u00f6z de \u00e7evresindekileri g\u00fcld\u00fcr\u00fcyordu.<\/p>\n

\"Georges<\/a>

Georges Seurat, Modeller, Arthipo<\/p><\/div>\n

Renkler \u00fczerindeki deneylerine temel olarak Seurat \u015funu al\u0131yordu: I\u015f\u0131k yedi renge ayr\u0131l\u0131yordu. Bunlar prizman\u0131n ve g\u00f6kku\u015fa\u011f\u0131n\u0131n renkleriydi. Bu renkleri paletin \u00fczerine yerle\u015ftirip kar\u0131\u015ft\u0131r\u0131nca Seurat\u2019ya g\u00f6re atmosferin rengini bulmak m\u00fcmk\u00fcnd\u00fc. Ama renklerin a\u015f\u0131r\u0131 bi\u00e7imde kar\u0131\u015f\u0131m\u0131 eninde sonunda geriye d\u00f6n\u00fc\u015fece\u011finden Seurat temel yedi rengi say\u0131s\u0131z noktalar halinde do\u011frudan do\u011fruya tuvalin \u00fczerine d\u00fczenli bir \u015fekilde yerle\u015ftirme\u011fi \u00f6\u011f\u00fctl\u00fcyordu. Seurat i\u015fte bu y\u00f6nteme tonlar\u0131n ay\u0131r\u0131m\u0131 ad\u0131n\u0131 veriyordu.<\/p>\n

\"Georges<\/a>

Georges Seurat, La Grande Jatte Adas\u0131<\/p><\/div>\n

\u201cDivisionnisme\u201di (Puantilizm) ortaya \u00e7\u0131karm\u0131\u015ft\u0131. Bu konuda \u201cPointillis\u201d deyimi de ayn\u0131 anlama gelmektedir, empresyonistler de tuval \u00fczerinde renkleri f\u0131r\u00e7a kar\u0131\u015ft\u0131r\u0131yordu birbirine. Puantilist \u201cPointilliste\u2019 de ise kar\u0131\u015f\u0131m\u0131 do\u011frudan do\u011fruya g\u00f6z yap\u0131yordu.<\/p>\n

Georges SEURAT’\u0131n \u0130lk B\u00fcy\u00fck \u00c7al\u0131\u015fmas\u0131<\/span><\/h3>\n

Bu y\u00f6ntem ve kurala g\u00f6re \u00e7al\u0131\u015fan Seurat ilk b\u00fcy\u00fck kompozisyonu Baignade\u2019\u0131 1883 y\u0131l\u0131nda tamamlad\u0131. Bu b\u00fcy\u00fck kompozisyonunu ressam bir\u00e7ok desenler, et\u00fctler, po\u015fadlar yaparak haz\u0131rlad\u0131. Ama tablosunun \u201c Salon\u201d da sergilenmesini istedi\u011fi i\u00e7in Pointillis\u2019ini (Puantilizm) a\u015f\u0131r\u0131l\u0131\u011fa vard\u0131rmad\u0131 \u00e7\u00fcnk\u00fc b\u00f6yle bir \u015feyin j\u00fcri \u00fcyelerini \u00fcrk\u00fctmesinden \u00e7ekiniyordu. \u00c7abas\u0131 hi\u00e7 bir fayda sa\u011flamad\u0131. Baignade, bir\u00e7ok gen\u00e7 ressam\u0131n tablolar\u0131yla Salon\u2019a kabul edilmedi.<\/p>\n

\"Georges<\/a>

The Bec Du Hoc Ggrandcamp1885, Georges Seurat Puantilizm<\/p><\/div>\n

Bunun \u00fczerine at\u00f6lyelerde ve kahvehanelerde toplanan ressamlar h\u00fck\u00fcmet yetkililerine ve akademik ressamlara kar\u015f\u0131 birle\u015fme\u011fe karar verdiler. 15 May\u0131s 1884 tarihinde \u201cBa\u011f\u0131ms\u0131zlar Salonu\u2019\u2019 bu ba\u015fkald\u0131rma havas\u0131 i\u00e7inde kuruldu. Bu topluluk ne j\u00fcri \u00fcyesi istiyordu, ne de \u00f6d\u00fcl da\u011f\u0131t\u0131lmas\u0131n\u0131. Yeni kurulu\u015fa ilk kat\u0131lanlar aras\u0131nda \u015fu ressamlar vard\u0131. Seurat, Odilon Redon, Paul Signac, Hennri-Edmond Cross, Charles Angrand, Albert Dubois Pillet. Bu gen\u00e7 ressamlar tablolar\u0131n\u0131 ilk defa Tuileries\u2019nin avlusunda ge\u00e7ici olarak Posta ve Telgraf Y\u00f6neticili\u011fi i\u00e7in yap\u0131lan bir barakada sergilediler.<\/p>\n

Georges Seurat eserleri ve ele\u015ftirmenler<\/h3>\n

Seurat bu sergiye Baignade ile kat\u0131lm\u0131\u015ft\u0131. Ama resim ele\u015ftirmecileri tablonun de\u011ferini anlayamad\u0131lar. \u00dcstelik alay edenlerin say\u0131s\u0131 da k\u00fc\u00e7\u00fcmsenmeyecek kadar \u00e7oktu. Ve b\u00fct\u00fcn bu g\u00fcr\u00fclt\u00fc pat\u0131rt\u0131 aras\u0131nda Seurat yirmi bir ya\u015f\u0131nda bir ressamla yak\u0131nl\u0131k kurmu\u015ftu: Paul Signac. Seurat\u2019n\u0131n en zeki ve en anlay\u0131\u015fl\u0131 \u00f6\u011frencisi i\u015fte bu ressam olacakt\u0131r.<\/p>\n

\"K\u00f6yl\u00fcler,<\/a>

Georges Seurat eserleri -K\u00f6yl\u00fcler, Les Terrassiers<\/p><\/div>\n

Ve aralar\u0131nda Charles Angrand, Henri Edmond Cross ve Dubois Pillet gibi de\u011ferli gen\u00e7 ressamlar\u0131n da bulundu\u011fu bir grup bazen Signac\u2019\u0131n evinde, bazan Cafe\u0301 d\u2019Orient\u2019da, bazen da Cafe\u0301 Marengo\u2019da toplanmaya ba\u015flad\u0131. Seurat\u2019y\u0131 dinliyor ve \u00e7ok az konu\u015fuyordu. Ama kendinden emin bir g\u00f6r\u00fcn\u00fc\u015f\u00fc vard\u0131. Bu da \u00e7evresindekileri \u00e7ok etkiliyordu. Kendi esteti\u011fini zorla kabul ettirme\u011fe \u00e7al\u0131\u015fm\u0131yordu. Sadece yapmak istedi\u011fi \u015feyi a\u00e7\u0131kl\u0131yordu, o kadar. Bir defas\u0131nda aralar\u0131nda \u015f\u00f6yle bir konu\u015fma ge\u00e7ti:<\/p>\n

\"Georges<\/a>

Georges Seurat, Asniereste Banyo<\/p><\/div>\n

Puantilizm \u00dczerine Seurat ve Arkada\u015flar\u0131 Aras\u0131nda Bir Tart\u0131\u015fma<\/span><\/h3>\n

Seurat : \u00a0\u00c7ok k\u00fc\u00e7\u00fck f\u0131r\u00e7a tu\u015flar\u0131yla k\u00fc\u00e7\u00fck y\u00fczeyler \u00fczerinde b\u00fcy\u00fck bir renk ve ton \u00e7e\u015fidi toplayabiliyorum. Belirli bir uzakl\u0131kta bu noktalar g\u00f6zde eriyor. Ve bu g\u00f6zle ilgili kar\u0131\u015f\u0131m herhangi bir kar\u0131\u015f\u0131mdan daha \u0131\u015f\u0131kl\u0131 bir ahenk yarat\u0131yor.<\/p>\n

Signac : Benimsedi\u011finiz kurallar yarat\u0131c\u0131 i\u00e7g\u00fcd\u00fcde bir \u00e7e\u015fit frenleme yapm\u0131yor mu?<\/p>\n

Seurat : Hi\u00e7 ilgisi yok! Bu bir denetleme yoludur \u00f6zellikle. Daha do\u011frusu bence b\u00f6yle\u2026<\/p>\n

Cross: Yani bir \u00e7e\u015fit k\u0131lavuz mu?<\/p>\n

Seurat :\u00a0 Evet tamam, bir k\u0131lavuz.<\/p>\n

\"Georges<\/a>

Georges Seurat, Asniereste Banyo Arthipo<\/p><\/div>\n

Seurat\u2019\u0131n b\u00fct\u00fcn ya\u015fam\u0131 at\u00f6lyesinde ge\u00e7iyordu. Ara s\u0131ra Normandiya \u2019ya da Crotoy\u2019a gidiyor, manzara resimleri yap\u0131yordu. Madeleine Knobloh ad\u0131nda sessiz bir kad\u0131n ya\u015f\u0131yordu ressam\u0131n yan\u0131nda. 1889-90 y\u0131llar\u0131nda yapt\u0131\u011f\u0131 \u201cPudra S\u00fcren Gen\u00e7 Kad\u0131n\u2019 tablosundaki yar\u0131 soyunuk kad\u0131n Madeleine\u2019dir. Ama bu y\u0131llarda yapt\u0131\u011f\u0131 tablolar\u0131n da hi\u00e7 biri anla\u015f\u0131lmam\u0131\u015ft\u0131r.<\/p>\n

Ama Seurat durmadan \u00e7al\u0131\u015f\u0131yordu. Renoir\u2019un, Degas\u2019n\u0131n, Toulouse Lautrec\u2019in \u00e7ok sevdi\u011fi bir konuya el atm\u0131\u015ft\u0131 Seurat. Cambazhane. Harekete daha \u00f6zg\u00fcr, daha canl\u0131 bir dinamizm vermek istiyordu.<\/p>\n

1891 y\u0131l\u0131. Paris. K\u0131\u015f. Ve korkun\u00e7 bir grip salg\u0131n\u0131. Ve bir \u00e7ok kurban. Seurat bir o minib\u00fcste so\u011fuk alm\u0131\u015ft\u0131. \u0130ki g\u00fcn sonra ate\u015f y\u00fckseldi. Say\u0131klama\u011fa ba\u015flad\u0131 Seurat. Ama ba\u015fka bir ate\u015f yak\u0131yordu onun i\u00e7ini: Sanat\u0131n\u0131n ate\u015fi. Yorgan\u0131 bir yana at\u0131p kalk\u0131yordu sanat\u00e7\u0131. \u201cCirque \u2013 Cambazhane\u201d ad\u0131n\u0131 verdi\u011fi son tablosuna do\u011fru ko\u015fuyordu. Son f\u0131r\u00e7a darbelerini vuruyordu tuvale\u2026<\/p>\n

\"Georges<\/a>

Georges Seurat, Sirk, Cambazhane<\/p><\/div>\n

 <\/p>\n

Georges Seurat \u00d6l\u00fcm\u00fc<\/span><\/h3>\n

Ve bir gece bir kanama oldu. Seurat\u2019n\u0131n d\u00fcnyada son gecesiydi bu. Hen\u00fcz otuz iki ya\u015f\u0131ndayd\u0131 sanat\u00e7\u0131.<\/p>\n

Seurat geometriciydi, kimyac\u0131yd\u0131, felsefeciydi, i\u00e7ine kapan\u0131k bir sanat\u00e7\u0131yd\u0131. Kuramlar\u0131m tablolar\u0131na yerle\u015ftiren tek sanat\u00e7\u0131yd\u0131. Ama zaten kuramlar\u0131n\u0131n s\u0131n\u0131rlar\u0131 \u201cLe Cirque\u201d tablosunda kendini belli etme\u011fe ba\u015flam\u0131\u015ft\u0131. I\u015f\u0131k ve ya\u015fam eksikti bu tabloda. Ama ne olursa olsun Divisionnisme (Puantilizm) resim tarihinin en b\u00fcy\u00fck d\u00f6nemlerinden biri olarak kalacakt\u0131r. \u00c7\u00fcnk\u00fc Seurat\u2019n\u0131n bilimsel y\u00f6nden ele ald\u0131\u011f\u0131 bu sanat \u00e7abas\u0131 Empreyonizle ile Favizm ve K\u00fcbizm aras\u0131ndaki ge\u00e7ici a\u015faman\u0131n en belirli, en parlak a\u015famas\u0131d\u0131r. Matisse de, Picasso da, Braque da, La Fresnaye da Puantilizmi uygulayacaklard\u0131r. Ama Seurat\u2019n\u0131n deneylerini yeni ba\u015ftan ele alan Delaunay daha da ileri giderek bi\u00e7im-renk ara\u015ft\u0131rmalar\u0131nda \u00e7ok b\u00fcy\u00fck a\u015famalar yapacakt\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Georges Seurat (1859 – 1891)   Georges Seurat’\u0131n hayat\u0131 2 Aral\u0131k 1859 tarihinde do\u011fan Georges Seurat\u2019n\u0131n \u00e7evresi k\u00fc\u00e7\u00fck burjuvayd\u0131. Dar bir \u00e7evreydi bu. \u00dcstelik babas\u0131 sofuydu. K\u00fc\u00e7\u00fck Georges\u2019u sanata do\u011fru y\u00f6neltecek hi\u00e7 bir etkinin belirtisi yoktu bu \u00e7evrede. Georges bir yandan okula giderken bir yandan da evinin yak\u0131n\u0131ndaki bir yerde ak\u015famlar\u0131 desen kurlar\u0131n\u0131 izliyordu. \u00d6\u011fretmeni […]<\/p>\n","protected":false},"author":1,"featured_media":5883,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[250],"tags":[],"class_list":["post-5189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-unlu-ressamlarin-hayat-hikayeleri"],"yoast_head":"\nGeorges Seurat - Hayat\u0131 ,sanat g\u00f6r\u00fc\u015f\u00fc ve Eserleri - Arthipo<\/title>\n<meta name=\"description\" content=\"Georges Seurat kimdir. Georges seurat hangi sanat ak\u0131m\u0131na mensuptur. Ressam Georges Seurat'\u0131n hayat\u0131 Georges Seurat eserleri. 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