{"id":5219,"date":"2016-10-22T23:27:36","date_gmt":"2016-10-22T20:27:36","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=5219"},"modified":"2017-06-07T03:41:52","modified_gmt":"2017-06-07T00:41:52","slug":"ressam-piet-mondrian-hayati-sanat-gorusu-eserleri","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/unlu-ressamlarin-hayat-hikayeleri\/ressam-piet-mondrian-hayati-sanat-gorusu-eserleri.html","title":{"rendered":"Ressam Piet Mondrian Hayat\u0131 Sanat G\u00f6r\u00fc\u015f\u00fc ve Eserleri"},"content":{"rendered":"

Piet Mondrian (1872 – 1944)<\/span><\/h2>\n
<\/div>\n
\n

\u201cBi\u00e7im, ve renk ger\u00e7ek kullan\u0131\u015flar\u0131na ula\u015ft\u0131lar: \u201c plastik\u201d anlat\u0131m ara\u00e7lar\u0131ndan ba\u015fka bir \u015fey olmayan bi\u00e7imle renk ge\u00e7mi\u015fte oldu\u011fu gibi yap\u0131tta \u00fcst\u00fcnl\u00fck kurmuyorlar art\u0131k.\u201d \/\/\u00a0Piet Mondrian<\/span><\/p>\n

1953 y\u0131l\u0131nda yay\u0131nlanan Poe\u0301tica deU’architettura neopla\u0301sti ca adl\u0131 kitab\u0131nda Bruno Zevi \u015f\u00f6yle yazmaktad\u0131r:<\/span><\/p>\n

\n

\u201cVan Doesburg\u2019un yap\u0131tlar\u0131yla Mondrian\u2019\u0131n yap\u0131tlar\u0131n\u0131 kar\u015f\u0131la\u015ft\u0131r\u0131rsak aradaki s\u0131n\u0131f ayr\u0131l\u0131\u011f\u0131 hi\u00e7 s\u0327<\/span>\u00fcphe yok hemen anla\u015f\u0131l\u0131r. Van Doesburg\u2019daki \u00e7abukluk, deney co\u015fkusu, Plastik bir anlat\u0131ma varmak amac\u0131yla giri\u015filen tart\u0131\u015fma acelecilik her t\u00fcrl\u00fc fig\u00fcrasyonu eleyerek k\u00fcbizmi a\u015far. Mondrian\u2019da ise s\u00f6zlerle anlat\u0131lama yan yetkinlikleri arayan sanat\u00e7\u0131n\u0131n a\u015f\u0131r\u0131 sabr\u0131 vard\u0131r. Van Doesburg ressam-ele\u015ftirmecidir, yeni anlat\u0131lan yollar\u0131n\u0131n ara\u015ft\u0131r\u0131c\u0131s\u0131d\u0131r.duygular\u0131n\u0131 davran\u0131\u015flar\u0131yla beraber d\u0131\u015fa vurduran ilgin\u00e7 bir yarad\u0131l\u0131\u015ft\u0131r. Mondrian ise, ozand\u0131r.\u201d<\/span><\/p>\n<\/blockquote>\n

Soyut resim, bug\u00fcn bir \u00e7ok ressam i\u00e7in oldu\u011fu kadar bir \u00e7ok resim eles\u0327<\/span>tirmecisi i\u00e7in de resim sanat\u0131n\u0131n \u00f6z\u00fcd\u00fcr. Resim sana t\u0131n\u0131n ula\u015ft\u0131\u011f\u0131 en yetkin noktad\u0131r. Ve soyut resim son y\u0131llarda ortaya \u00e7\u0131kan geli\u015fig\u00fczel bir sanat \u00e7abas\u0131 da de\u011fildir. En a\u015fa\u011f\u0131 elli y\u0131l i\u00e7inde olu\u015fmu\u015f bir yetkinliktir bu.<\/span><\/p>\n

\"piet<\/a>

The Red Tree. 1908-1910 civar\u0131, Ya\u011fl\u0131boya<\/p><\/div>\n

Soyut resmi en iyi bilenlerin, en iyi anlayanlar\u0131n ba\u015f\u0131nda mu hakkak ki Frans\u0131z resim ele\u015ftirmecisi Michel Seuphor gelir. Seuphor soyut resim ak\u0131m\u0131n\u0131 g\u00fcn\u00fc g\u00fcn\u00fcne \u00e7ok yak\u0131ndan izlemi\u015f, Kandinsky, van Doesburg, Mondrian gibi ressamlar\u0131 b\u00fct\u00fcn ya\u015fant\u0131lar\u0131yla tan\u0131m\u0131\u015ft\u0131r. \u00d6teki b\u00fct\u00fcn soyut resim sanat\u00e7\u0131lar\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131n\u0131 da yak\u0131ndan izleyen Seuphor\u2019u bu alanda en ilgin\u00e7 yetkili olarak g\u00f6rd\u00fc\u011f\u00fcmden Mondrian\u2019a ay\u0131rd\u0131\u011f\u0131m bu b\u00f6l\u00fcmde kalemi do\u011frudan do\u011fruya bu resim ele\u015ftirmecisine b\u0131rak\u0131yorum:<\/span><\/p>\n

“Piet Mondrian 1872 y\u0131l\u0131nda Hollandan\u0131n merkezindeki ‘Amersfoort kentinde d\u00fcnyaya geldi 1944 y\u0131l\u0131nda New York\u2019ta \u00f6l d\u00fc. Koyu Calvin\u2019ci bir ailenin \u00e7ocu\u011fuydu. \u00d6\u011fretmen olan babas\u0131 o\u011flunun da \u00f6\u011fretmen olmas\u0131n\u0131 istiyordu. Ama bu mesle\u011fe girmek istemeyen Piet halk okullar\u0131nda resim \u00f6\u011fretmenli\u011fi yapmak amac\u0131 ile iki diploma ald\u0131ktan sonra Amsterdam Akademisi\u2019ne girdi.<\/span><\/p>\n

Piet Modrian’\u0131n \u00d6\u011frencilik Y\u0131llar\u0131<\/h3>\n

(1892). \u00c7ok \u00e7al\u0131\u015fkan bir \u00f6\u011frenciydi. \u00d6\u011fretmenlerine sevdirmi\u015fti kendisini. Daha sonra zor bir d\u00f6neme giren Mondrian \u00e7ok resim yap\u0131yor, pek satam\u0131yordu resimlerini. Ge\u00e7imini sa\u011flamak i\u00e7in m\u00fczelerdeki tablolar\u0131n kopyalar\u0131n\u0131 \u00e7\u0131kar\u0131yor ya da bilimsel resimler yap\u0131yordu.<\/span><\/p>\n

Piet Mondrian<\/b><\/span>\u00a0\u00f6zellikle Amsterdam dolaylar\u0131nda resim yap\u0131yor ve s\u0131k s\u0131k ayn\u0131 motife d\u00f6n\u00fcyordu: \u00d6rne\u011fin; Duivendrecbt \u00c7iftli\u011fi’ni ayn\u0131 g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131ndan bir \u00e7ok defalar yeniden yapm\u0131\u015ft\u0131r. 1903 y\u0131l\u0131na do\u011fru Hollandan\u0131n Brabant katolik k\u00f6yl\u00fcleri aras\u0131nda uzunca bir s\u00fcre kalan Mondrian o d\u00f6nemde yeni ufuklara y\u00f6nelmi\u015f gibidir.<\/span><\/p>\n

\u201cDinsel sorunlar ressam\u0131 \u00e7ok \u00e7ekiyordu. Bir ka\u00e7 y\u0131l sonra kendisinin de \u00fcye olaca\u011f\u0131 Teozofi Derne\u011finin yay\u0131nland\u0131\u011f\u0131 kitaplan okuyordu. Mondrian o y\u0131llarda daha \u00e7ok \u015furda burda g\u00f6rd\u00fc\u011f\u00fc evlerin ya da orman a\u011fa\u00e7lar\u0131n\u0131n aras\u0131ndaki manzaralar\u0131n resimlerini yap\u0131yordu.<\/span><\/p>\n

1908 y\u0131l\u0131nda Walcheren adas\u0131ndaki Dombourg\u2019a giden ressam\u0131n \u00e7al\u0131\u015fmalar\u0131 o y\u0131l ba\u015ftanba\u015fa de\u011fi\u015fikli\u011fe u\u011frad\u0131. Paleti \u0131s\u0327<\/span>\u0131kland\u0131. Daha \u00f6nce s\u0131k s\u0131k kulland\u0131\u011f\u0131 mor yava\u015f yava\u015f kaybolarak yerini a\u00e7\u0131k maviye, beyaza, pembelere, alt\u0131n sar\u0131lar\u0131na b\u0131rakt\u0131.<\/span><\/p>\n

\u201cDostlar\u0131 Paris’e gitmesini \u00f6\u011f\u00fctlediler. HollandalI\u0131 ressam Kickert Montparnasse\u2019daki at\u00f6lyesini b\u0131rakt\u0131 ona. Mondrian 1911 y\u0131l\u0131n\u0131n sonunda Paris’e gitti. Hemen k\u00fcbizmin etkisinde kalan ressam \u00fcnl\u00fc A\u011fa\u00e7lar\u2019\u0131n\u0131 yapt\u0131. Belli bir temin arka arkaya yap\u0131lm\u0131\u015f soyut g\u00f6r\u00fcnt\u00fcleri olan bu resimler y\u00fczy\u0131l\u0131m\u0131z\u0131n resim sanat\u0131nda tektir.<\/span><\/p>\n

Neoplastisizm’in \u00a0\u00f6nc\u00fcs\u00fc<\/span><\/h3>\n

Piet Mondrian<\/b>\u00a0sava\u015f\u0131n patlamas\u0131ndan on be\u015f g\u00fcn \u00f6nce Hollanda’ya d\u00f6nerek hastalanan babas\u0131n\u0131n yanma gitti. Amsterdam\u2019dayken sava\u015f patlay\u0131nca ressam ancak bar\u0131\u015f anla\u015fmas\u0131ndan sonra Parise d\u00f6nebildi. D\u00f6rt bu\u00e7uk y\u0131l\u0131n\u0131 Dombourg\u2019da, Scheveningen\u2019de, Amsterdam\u2019da ve Laren k\u00f6y\u00fcnde ge\u00e7iren Mondrian soyut ara\u015ft\u0131rmalar\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. Bunlar\u0131n aras\u0131nda Deniz temi, Katedrallerin \u00d6n G\u00f6r\u00fcn\u00fc\u015fleri temi bulunmaktad\u0131r. Ve bu ara\u015ft\u0131rmalar 1915 y\u0131l\u0131nda yatay ve d\u00fc\u015fey \u00e7izgilerin d\u00fczenlili\u011fine ula\u015ft\u0131. Daha sonralar\u0131 art\u0131 ve eksi dizisi diye adland\u0131r\u0131lacak olan bu tablolar Neo-plasticisme\u2019in ya da ar\u0131k plastikin \u00f6nc\u00fcl\u00fc\u011f\u00fcn\u00fc yap\u0131yordu.<\/span><\/p>\n

\u201cMondrian o y\u0131l tan\u0131\u015ft\u0131 The\u0301o van Doesburg\u2019la. ki ressam De Stijl (Stil – \u00dcslu\u0302<\/span>p) dergisini kurdular. Derginin ilk say\u0131s\u0131 1917 y\u0131l\u0131n\u0131n Ekim ay\u0131nda \u00e7\u0131kt\u0131. O d\u00f6nemde Mondrian az resim yap\u0131yor, daha \u00e7ok yaz\u0131 yaz\u0131yordu. De StijI’de kendi resim anlay\u0131\u015f\u0131yla ilgili uzun denemeler yay\u0131nl\u0131yordu. Bunlar\u0131n baz\u0131lar\u0131 kar\u015f\u0131l\u0131kl\u0131 konu\u015fma bi\u00e7imindeydi. Bu denemelerin Do\u011fal ger\u00e7ek ve soyut ger\u00e7ek ad\u0131n\u0131 ta\u015f\u0131yan\u0131 Soyut Sanat\u0131n temel tas\u0327<\/span>lar\u0131ndan biri olarak kabul edilebilir.<\/span><\/p>\n

\"modern<\/a><\/p>\n

\u201c1919 y\u0131l\u0131n\u0131n ba\u015f\u0131nda Parise d\u00f6nen Piet Mondrian yatay-d\u00fc\u015fey neo-plastik temi \u00fczerindeki d\u00fc\u015f\u00fcncelerini s\u00fcrd\u00fcrd\u00fc ve \u00f6l\u00fcnceye dek bunlar\u0131 derinle\u015ftirdi. \u00d6nce tablolar\u0131ndaki fonlar griydi, sonra ma viye d\u00f6n\u00fc\u015ft\u00fc. Ama 1922 y\u0131l\u0131ndan sonra beyazdan hi\u00e7\u00a0\u015fa\u015fmad\u0131. Renkler aras\u0131nda daha \u00e7ok severek kulland\u0131\u011f\u0131 k\u0131rm\u0131z\u0131yd\u0131. Bu d\u00f6nemdeki yap\u0131tlar\u0131ndan baz\u0131lar\u0131nda tablonun \u00fc\u00e7te ikisini kaplayan bir dik d\u00f6rtgen vard\u0131r.<\/span><\/p>\n

\"piet<\/a><\/p>\n

Tablor\u0131n\u0131 \u00c7ok Az G\u00f6r\u00fcc\u00fcye \u00c7\u0131k\u0131yordu<\/h3>\n

\u201cRessam tablolar\u0131n\u0131 \u00e7ok az sergiliyordu. \u00c7ok d\u00fczenli bir at\u00f6lyede neo-plastik ilkelere g\u00f6re sessiz sedas\u0131z \u00e7al\u0131\u015f\u0131yordu. Ressam\u0131n yap\u0131t\u0131n\u0131n anlam\u0131 o y\u0131llarda memleketinin s\u0131n\u0131rlar\u0131ndan ta\u015fmaya ba\u015flam\u0131\u015ft\u0131. O d\u00f6nemde bir ara Le\u0301ger ile Baumeister Mondrian\u2019\u0131n d\u00fc\u015f\u00fcncelerinin etkisinde kald\u0131lar bir ara. Ressam daha sonralar\u0131 Ben Nicholson ile Max Bill\u2019i de etkiledi<\/span><\/p>\n

\u201c1938 y\u0131l\u0131n\u0131n Eyl\u00fcl\u00fcnde sava\u015f\u0131n yakla\u015fmakta oldu\u011funu hisseden Piet Mondrian Paristen Londraya ge\u00e7ti, oradan da 1940 y\u0131l\u0131n\u0131n Eyl\u00fcl\u00fcnde New York\u2019a gitti. Bir \u00e7ok hayran\u0131 vard\u0131 New York\u2019ta. Bundan cesaret alarak yeniden \u00e7al\u0131\u015fmaya koyuldu. Londra’da ya da Pariste ba\u015flad\u0131\u011f\u0131 tablolar\u0131n\u0131 orada tamamlad\u0131. Ya\u015fant\u0131s\u0131n\u0131n son iki y\u0131l\u0131 maddesel bir rahatl\u0131k i\u00e7inde ge\u00e7ti. Bu rahatl\u0131k i\u00e7i\u00a0rahatl\u0131\u011f\u0131n\u0131 da etkiledi.<\/span><\/p>\n

\u201cMondrian bu d\u00f6nemdeki \u00e7al\u0131\u015fmalar\u0131nda siyah rengi att\u0131.. New York City ad\u0131n\u0131 ta\u015f\u0131yan tablosunda sar\u0131, k\u0131rm\u0131z\u0131 ve mavi \u00e7izgiler vard\u0131r yaln\u0131z. Broadway boogie-woogie tablosunda \u00e7izgiler ne\u015feli bir\u00a0pizzicato<\/span><\/strong>‘nun etkisindeymi\u015f gibi k\u00fc\u00e7\u00fck dikd\u00f6rt genlere b\u00f6l\u00fcnme e\u011filimini g\u00f6sterirler. Ressam\u0131n tamamlayamadan \u00f6ld\u00fc\u011f\u00fc Victory boogie- woogie adl\u0131 tablosunda ise k\u0131vanc\u0327<\/span> bir senfoni halinde taml\u0131\u011fa var\u0131r. Bu tabloda \u00f6l\u00e7\u00fc ve \u00f6zg\u00fcrl\u00fck, \u00e7ekingenlikle co\u015fku yetkin bir birlik kurarlar ama yap\u0131t\u0131n b\u00fct\u00fcn\u00fcn de yatay-d\u00fc\u015fey neo-plastik veri temel kanun olarak belirir gene de.<\/span><\/p>\n

\u201cMondrian\u2019\u0131n \u00f6nemi y\u00fczy\u0131l\u0131m\u0131z\u0131n resminde \u00e7ok b\u00fcy\u00fckt\u00fcr. Yaln\u0131z en ar\u0131, en \u00e7\u0131plak soyuta nat\u00fcralizmin yava\u015f ve a\u015famal\u0131 gidi\u015fiyle de\u011fil, ayn\u0131 zamanda bu gidi\u015fin niteli\u011fiyle de \u00f6nemlidir. Her ad\u0131m bir insan\u0131n t\u00fcm varl\u0131\u011f\u0131d\u0131r. Olu\u015fmas\u0131n\u0131n hic\u0327<\/span> bir an\u0131nda nu resim (Mondrian\u2019m tablolar\u0131) ilgisiz b\u0131rakmaz ki\u015fiyi: tam bir sorumluluk ta\u015f\u0131r ve uzla\u015fmaya yana\u015fmaz hi\u00e7. Soyutun en \u00e7orak zirvelerinde bile resme s\u0131cakl\u0131k katan, insanl\u0131k duygusu ekleyen, resmi taklit edilemez bir hale getiren bir \u015fey titre\u015fir tablonun gerisinde.\u2019\u2019<\/span><\/p>\n

Piet Modrian’\u0131n Sanata Bak\u0131\u015f A\u00e7\u0131s\u0131<\/span><\/h4>\n

Ger\u00e7ek \u00e7a\u011fda\u015f sanat\u00e7\u0131 bir g\u00fczellik co\u015fkusunda bi lin\u00e7li olarak duygulan\u0131r, g\u00fczelin co\u015fkusunun evrensel oldu\u011funa bilin\u00e7li olarak inan\u0131r. Ki\u015fi do\u011frudan do\u011fru ya evrensele ba\u011fl\u0131 oldu\u011fundan bu bilin\u00e7li benimsemenin tan\u0131tlanm\u0131\u015f \u00f6nermesi soyut plastiktir.<\/span><\/p>\n

\n

Pizzicato<\/b><\/span>: \u0130talyanca bir m\u00fczik deyimi. Yayl\u0131 sazlarda<\/span><\/p>\n

\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Piet Mondrian (1872 – 1944) \u201cBi\u00e7im, ve renk ger\u00e7ek kullan\u0131\u015flar\u0131na ula\u015ft\u0131lar: \u201c plastik\u201d anlat\u0131m ara\u00e7lar\u0131ndan ba\u015fka bir \u015fey olmayan bi\u00e7imle renk ge\u00e7mi\u015fte oldu\u011fu gibi yap\u0131tta \u00fcst\u00fcnl\u00fck kurmuyorlar art\u0131k.\u201d \/\/\u00a0Piet Mondrian 1953 y\u0131l\u0131nda yay\u0131nlanan Poe\u0301tica deU’architettura neopla\u0301sti ca adl\u0131 kitab\u0131nda Bruno Zevi \u015f\u00f6yle yazmaktad\u0131r: \u201cVan Doesburg\u2019un yap\u0131tlar\u0131yla Mondrian\u2019\u0131n yap\u0131tlar\u0131n\u0131 kar\u015f\u0131la\u015ft\u0131r\u0131rsak aradaki s\u0131n\u0131f ayr\u0131l\u0131\u011f\u0131 hi\u00e7 s\u0327\u00fcphe yok […]<\/p>\n","protected":false},"author":1,"featured_media":5942,"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-5219","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-unlu-ressamlarin-hayat-hikayeleri"],"yoast_head":"\nRessam Piet Mondrian Hayat\u0131 Sanat G\u00f6r\u00fc\u015f\u00fc ve Eserleri - 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