{"id":6246,"date":"2016-11-12T15:09:31","date_gmt":"2016-11-12T13:09:31","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=6246"},"modified":"2021-09-18T22:20:09","modified_gmt":"2021-09-18T19:20:09","slug":"sanat-akimlari","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html","title":{"rendered":"Sanat Ak\u0131mlar\u0131"},"content":{"rendered":"

Sanat Ak\u0131mlar\u0131 Nelerdir, \u00d6zellikleri<\/h2>\n

Sanat ak\u0131mlar\u0131, g\u00f6rsel sanatlar\u0131n, resim, heykel gibi dallar\u0131nda; teknik, tarz, soyutlama, deformasyon<\/strong> gibi \u00f6zelliklerin de\u011fi\u015fmesiyle ortaya \u00e7\u0131kan k\u00f6kl\u00fc sanatsal de\u011fi\u015fimleri tan\u0131mlamak i\u00e7in kullan\u0131lmaktad\u0131r. Elbette sanat ak\u0131mlar\u0131n\u0131n etkileri felsefi, d\u00fc\u015f\u00fcnce ve edebiyata kadar uzan\u0131r.<\/p>\n

1789 y\u0131l\u0131, Fransa’da krall\u0131k rejiminin y\u0131k\u0131ld\u0131\u011f\u0131 ve cumhuriyet yani parlamenter d\u00f6nemin ba\u015flad\u0131\u011f\u0131 y\u0131ld\u0131r. Ancak daha \u00f6nemli\u00adsi bu olay\u0131 haz\u0131rlayan nedenlerin, t\u00fcm krall\u0131k y\u00f6netimlerinin ar\u00adt\u0131k ya\u015fayamayaca\u011f\u0131 ortam\u0131, er ge\u00e7 t\u00fcm d\u00fcnyada yarataca\u011f\u0131 idi. Asl\u0131nda bu olay\u0131n tohumlar\u0131, R\u00f6nesans’ta \u0130talya ve Hollanda’da\u00adki h\u00fcmanist g\u00f6r\u00fc\u015flerde vard\u0131 ve i\u00e7in i\u00e7in burjuva ayd\u0131nlar\u0131n\u0131n kalbinde ya\u015fam\u0131\u015ft\u0131. Ancak bu g\u00f6r\u00fc\u015fler, 1789’a de\u011fin mutlak y\u00f6\u00adnetim ve kilise taraf\u0131ndan t\u00fcm Avrupa’da bask\u0131 alt\u0131nda tutulmu\u015f, bu nedenle de geli\u015fmemi\u015fti. Bu devrim hareketi, krall\u0131\u011fa ve onun y\u00f6netimine kar\u015f\u0131 idi ve ayr\u0131ca burjuvan\u0131n de\u011fil, halk\u0131n ha\u00adreketi olarak geli\u015fmi\u015fti. Parolas\u0131 da h\u00fcrriyet, e\u015fitlik ve karde\u015flik idi.<\/p>\n

Avrupada De\u011fi\u015fim<\/h3>\n

Bu olaydan sonra, Avrupa’daki g\u00fczel sanatlarda da \u00f6nemli de\u00ad\u011fi\u015fiklikler oldu. Hatta Avrupa’da giderek kentlerin kurulu\u015f ne\u00addenleri ve toplumlar\u0131n ya\u015fay\u0131\u015f bi\u00e7imleri bile de\u011fi\u015fecektir. \u00d6nce saray\u0131n, saray mimarl\u0131\u011f\u0131n\u0131n \u00f6nemi kalmayacakt\u0131r. En \u00f6nemli de\u011fi\u015fiklik ise, toplumlar\u0131n tar\u0131m ekonomisinden end\u00fcstriyel eko\u00adnomiye ge\u00e7i\u015fleri olacakt\u0131r. Yani, tar\u0131msal k\u00fclt\u00fcr ve mutlak kral\u00adl\u0131k y\u00f6netimi, yerlerini, end\u00fcstriyel makine \u00fcretimi ile parlamen\u00adter y\u00f6netime b\u0131rakacakt\u0131r. Eli\u015finin yerini makine i\u015fi alacakt\u0131r. Bu y\u00fczden yeni bir ya\u015fam ve onun gere\u011fi yeni bir sanat anla\u00ady\u0131\u015f\u0131 \u00f6nce Avrupa’ya, giderek t\u00fcm d\u00fcnyaya yay\u0131lacakt\u0131r. Ancak bu yeni ya\u015fam\u0131n ve d\u00fczeninin ray\u0131na oturmas\u0131 i\u00e7in, XIX. y\u00fczy\u0131\u00adl\u0131n ortalar\u0131na de\u011fin beklemek gerekmi\u015ftir. \u00c7\u00fcnk\u00fc, krall\u0131kla ilgili zemin yerine, parlamenter zeminin haz\u0131rlanmas\u0131 i\u00e7in bir ara d\u00f6\u00adnem gerekmi\u015ftir, i\u015fte bu ara d\u00f6nemin de kendine \u00f6zg\u00fc bir sanat\u0131 olmu\u015ftur.<\/p>\n

Fransa\u2019da fovizm (yaban\u0131ll\u0131k) ve k\u00fcbizm, \u0130talya’ da (f\u00fct\u00fcrizm) ve Almanya’da d\u0131\u015favurumculuk (ekspressiyonizm), hep bu i\u00e7 gereksiniminden kaynaklan\u0131yordu. Sanat\u00e7\u0131n\u0131n bu kendi i\u00e7ine, i\u00e7 d\u00fcnyas\u0131na y\u00f6neli\u015fi, \u00e7e\u015fitli sanat ak\u0131mlar\u0131n\u0131n birden Avrupa’n\u0131n her taraf\u0131nda benimsenmesine, yay\u0131lmas\u0131na neden oluyordu. 1905’de yaban\u0131ll\u0131k (fovizm), 1906′ da d\u0131\u015favurumculuk, 1908’de k\u00fcbizm, 1909’da gelecek\u00e7ilik, 1910’da soyut sanat ak\u0131mlar\u0131 gibi.<\/p>\n

Abstre Sanat Ak\u0131m\u0131 (Soyut Resim Sanat Ak\u0131mlar\u0131)<\/h2>\n

1910 y\u0131l\u0131nda Kandinsky\u2019nin ilk soyut resmi de, renk, \u00e7izgi ve y\u00fczey \u00f6\u011felerini dikkate alarak yeni bir anlay\u0131\u015f\u0131 ortaya koydu. Bu sanat\u00e7\u0131n\u0131n resminde nesne ve fig\u00fcrlerin bi\u00e7imleri hi\u00e7 dikkate al\u0131nm\u0131yor ve renkler, \u00e7izgiler, y\u00fczeyler, soyut bir kompozisyon olarak de\u011ferlendiriliyordu. Bu nedenle onun ortaya koydu\u011fu bu yeni resim, salt soyut bir resmin ilk \u00f6rne\u011fi oluyordu. B\u00f6ylece, resim sanat\u0131nda korumun terkedildi\u011fi ve resimsel \u00f6\u011felerin resim i\u00e7in yeterli oldu\u011fu g\u00f6r\u00fc\u015f\u00fc kuvvet kazan\u0131yordu. Yani resimde, m\u00fczik gibi soyut \u00f6\u011felerle bir bi\u00e7imleme olana\u011f\u0131 bulunuyordu. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Bu g\u00f6r\u00fc\u015fe dayal\u0131 olarak lekecilik (tachisme) ak\u0131m\u0131 da, tamamen boya lekelerine dayal\u0131, hatta kompozisyonu bile bir yana b\u0131rakan bir resim anlay\u0131\u015f\u0131 ortaya \u00e7\u0131kard\u0131. Boya lekelerine dayanan bu resim anlay\u0131\u015f\u0131nda, ne do\u011fan\u0131n ima edili\u015fi, ne de onun simge\u00adsel bir anlat\u0131m\u0131 s\u00f6z konusu oluyordu.<\/p>\n

Abstre Sanat Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Josef Albers, Alexander Calder, Robert Delaunay, Paul Klee, Arshile Gorky, Patrick Heron, Howard Hodgkin, Hans Hofmann, Wassily Kandinsky, Franz Kline, Willem de Kooning, Lee Krasner, Kasimir Malevich, Agnes Martin, Joan Miro, Piet Mondrian, Robert Motherwell, Barnett Newman, Georgia O’Keeffe, Jackson Pollock, Mark Rothko, Frank Stella, Clyfford Still,<\/p>\n

Abstre Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Gerhard Richter, Flow P6, Soyut Sanat Ak\u0131m\u0131, Abtstre, Ak\u0131mlar<\/p><\/div>\n

Alman D\u0131\u015favurumculu\u011fu (Neo-ekspresyonizm)<\/h2>\n

Do\u011fan\u0131n renk ve bi\u00e7im durumuna bu derece ters d\u00fc\u015fen bir bi\u00e7imlemeyi, Alman d\u0131\u015favu\u00adrumculu\u011fu ile ayn\u0131 anlay\u0131\u015fta g\u00f6rmek ilk bak\u0131\u015fta olanaks\u0131z de\u00ad\u011fildir. Ancak yaban\u0131l ak\u0131m\u0131n do\u011fu\u015f nedeni farkl\u0131d\u0131r. Y\u00fczy\u0131l\u0131\u00adm\u0131z\u0131n ba\u015f\u0131ndaki end\u00fcstriyel ortam\u0131n yaratt\u0131\u011f\u0131 bunal\u0131ma, Alman, kendi i\u00e7ine d\u00f6nerek bir \u00e7are aram\u0131\u015f, Frans\u0131z ise, renkli, ya\u015fama sevinci yaratan bir resim ile yan\u0131t verme\u011fi, kendi karakterine daha uygun bulmu\u015ftur. B\u00f6ylece, yaban\u0131l ak\u0131m\u0131n temsilcileri olan ressamlar, taze, \u0131\u015f\u0131kl\u0131 renklerin ne\u015feli havas\u0131n\u0131 resimlerine sok\u00admu\u015flard\u0131r. Onlar, ak\u015fam evine d\u00f6nen yorgun ki\u015fiye, huzur veri\u00adci bir hava sa\u011flamak istemektedirler.<\/p>\n

Alman d\u0131\u015favurumculu\u011fu, \u0130talyan ger\u00e7ek\u00e7ili\u011fi, bir \u0130svi\u00e7re Dadac\u0131l\u0131\u011f\u0131, Avrupa k\u0131tas\u0131nda\u00a0 bir \u00f6zenti ya da ilerici sanatlar olarak benimsenip uy\u00adguland\u0131. Yani Avrupa’da makirta ve savaya bir ba\u015fkald\u0131rma ne\u00addeniyle ortaya \u00e7\u0131km\u0131yan bu ak\u0131mlar\u0131n eserlerine ait estetik be\u011feni g\u00f6rd\u00fc. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Alman D\u0131\u015favurumculu\u011fu Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Georg Kaiser, Ernst Toller (1893\u20131939), Hans Henny Jahnn (1894\u20131959), Reinhard Sorge (1892\u20131916), Bertolt Brecht (1898\u20131956), Ernst Ludwig Kirchner<\/span>, Alexej von Jawlensky<\/p>\n

Alman D\u0131\u015favurumculu\u011fu Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Alman D\u0131\u015favurumculu\u011fu, Sanat Ak\u0131mlar\u0131, Ernst Ludwig Kirchner Asker Otoportre<\/p><\/div>\n

Barok Sanat Ak\u0131mlar\u0131 \u00d6zellikleri, Sanat\u00e7\u0131lar\u0131<\/h2>\n

Barok (Barock) terimi, d\u00fczenli olmayan ya da kural d\u0131\u015f\u0131 anla\u00adm\u0131na gelen Portekizce “BAROCCO” s\u00f6zc\u00fc\u011f\u00fcnden al\u0131nm\u0131\u015f ve Av\u00adrupa’n\u0131n 1600 ile 1775 y\u0131llar\u0131 aras\u0131ndaki sanat\u0131na ad olarak ve\u00adrilmi\u015ftir. Bu sanat \u00fcslubu ile Maniyerist sanat anlay\u0131\u015f\u0131 son bul\u00admu\u015ftur. Barok \u00fcsluplu sanat, G\u00fcney \u0130talya \u00e7\u0131k\u0131\u015fl\u0131d\u0131r. Genel olarak bu \u00fcslup kuzey Avrupa’dan \u00e7ok Bavyera, Avusturya ve \u0130spanya; bu sonuncu \u00fclkenin etkisi ile de \u00f6zellikle G\u00fcney Amerika’da yay\u0131l\u00adm\u0131\u015ft\u0131r. Ancak, bu etkiler daha \u00e7ok mimarl\u0131k alan\u0131nda yayg\u0131nl\u0131k g\u00f6stermi\u015ftir. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Barok<\/a> \u00fcsluplu Avrupa sanat\u0131nda, duygusal bir ta\u015fk\u0131n\u00adl\u0131\u011f\u0131n bi\u00e7imlemesi s\u00f6z konusu olmu\u015ftur. R\u00f6nesans’\u0131n sade y\u00fczey d\u00fczenlemesi, klasik dengesi, sakin, huzur veren yatay ve dikey \u00e7izgilerin egemenli\u011fi, bu barok \u00fcslupla birlikte kaybolma\u00ad\u011fa ba\u015flar. R\u00f6nesans’\u0131n h\u00fcmanist d\u00fcnya g\u00f6r\u00fc\u015f\u00fc, dinin dogmatik kuralc\u0131l\u0131\u011f\u0131na ku\u015fku d\u00fc\u015f\u00fcren reformasyon olaylar\u0131, Avrupa insa\u00adn\u0131na b\u00fcy\u00fck bir d\u00fc\u015f\u00fcnce \u00f6zg\u00fcrl\u00fc\u011f\u00fc getirmi\u015fti. Ayr\u0131ca ekonomik zenginlik de soylular d\u0131\u015f\u0131ndaki orta halli toplum insan\u0131na d\u00fcnye\u00advi de\u011ferlere y\u00f6nelmenin faydalar\u0131n\u0131 g\u00f6stermi\u015fti.<\/p>\n

Barok Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Rembrandt Harmenszoon van Rijn, Michelangelo Merisi da Caravaggio, Gian Lorenzo Bernini, Peter Paul Rubens, Diego Rodr\u00edguez de Silva y Vel\u00e1zquez, Johannes, Jan or Johan Vermeer, Artemisia Gentileschi, Anthony van Dyck, Claudio Coello, Guido Reni, Nicolas Poussin, Charles Le Brun, Luca Giordano, Juan de Pareja, Jan van de Velde, Aelbert Jacobsz Cuyp, William Dobson, Frans Hals, Inigo Jones, Simon Vouet, Pietro da Cortona, Bartolom\u00e9 Esteban Murillo, Antoine Le Nain, Louis Le Nain, and Mathieu Le Nain, Pieter de Hooch, Abraham Bloemaert, Jan Josephszoon van Goyen, Jan Havickszoon Steen, Bartholomeus van der Helst, Jean-Baptiste Carpeaux.<\/p>\n

Barok Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Barok Sanat Ak\u0131m\u0131, Johannes Vermeer Girl with a Pearl Earring<\/p><\/div>\n

Dadaizm Sanat Ak\u0131m\u0131<\/h2>\n

Dadaizm, Avrupa ve Kuzey Amerika’da kat\u0131l\u0131mc\u0131lar\u0131yla beraber\u00a0 uluslararas\u0131 hareket oldu. Bir \u00e7ok kat\u0131l\u0131mc\u0131 i\u00e7in I. D\u00fcnya Sava\u015f\u0131’n\u0131n patlak veri\u015fine kar\u015f\u0131l\u0131k oldu\u011funa inan\u0131yordu. Dadaistler sava\u015f\u0131n temel nedeninin\u00a0 burjuva milliyet\u00e7i ve s\u00f6m\u00fcrgeci \u00e7\u0131karlar\u0131na kar\u015f\u0131 sanatlar\u0131n\u0131n bir protesto oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorlard\u0131. Bir \u00e7ok Dadaist ‘nedeni’ ve burjuva kapitalist toplumun ‘mant\u0131\u011f\u0131’n\u0131n sava\u015fa yol a\u00e7t\u0131\u011f\u0131 fikrindeydi. Onlar mant\u0131\u011f\u0131n\u0131 reddediyoruz ve kaos ve mant\u0131ks\u0131zl\u0131\u011f\u0131 kucaklamak i\u00e7in ortaya \u00e7\u0131kt\u0131klar\u0131n\u0131, sanatsal ifade olarak\u00a0 ideolojiyi reddetlerini a\u00e7\u0131kl\u0131yorlard\u0131.\u00a0 George Grosz daha sonra Dadaist sanat\u0131n sava\u015fa kar\u015f\u0131 bir protesto olarak\u00a0 “kar\u015f\u0131l\u0131kl\u0131 imha bu d\u00fcnyaya kar\u015f\u0131” demi\u015ftir. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Dadaizm Birinci D\u00fcnya Sava\u015f\u0131n\u0131n deh\u015fetine\u00a0 tepki olarak do\u011fdu. Haraket uluslararas\u0131\u00a0 Z\u00fcrich Cabaret Voltaire ile ili\u015fkili sanat\u00e7\u0131lar ve \u015fairlerden olu\u015fan bir grup taraf\u0131ndan ba\u015flat\u0131ld\u0131.. Dada sa\u00e7ma, mant\u0131ks\u0131z, sezgisizli\u011fi, akl\u0131 ve mant\u0131\u011f\u0131 reddetti. Dada kelimesinin\u00a0 k\u00f6keni belirsizdir; baz\u0131lar\u0131 sa\u00e7ma bir kelime oldu\u011funa inan\u0131yor. Baz\u0131lar\u0131 kelimenin k\u00f6kenin Romen dilinde “evet, evet” anlam\u0131na gelen Romen sanat\u00e7\u0131lar kaynakland\u0131\u011f\u0131n\u0131 iddia ederler. Ba\u015fka bir teoriye g\u00f6re ad\u0131 “Dada” Frans\u0131z-Alman S\u00f6zl\u00fc\u011fe s\u0131k\u0131\u015fm\u0131\u015f bir ka\u011f\u0131t b\u0131\u00e7ak i\u00e7in s\u00f6ylenen bir deyim oldu\u011funa belirtmi\u015ftir.<\/p>\n

Dadaizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, Hans Richter<\/p>\n

Dadaizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Dadaizm Sanat Ak\u0131m\u0131<\/p><\/div>\n

Ekspresyonizm (D\u0131\u015favurumculuk) Sanat Ak\u0131mlar\u0131 \u00d6zellikleri, Sanat\u00e7\u0131lar\u0131<\/h2>\n

D\u0131\u015favurumcular\u0131n nesne-fig\u00fcr kar\u015f\u0131s\u0131nda yap\u0131lan bi\u00e7imlemeyi terkedip, yo\u011fun \u00e7i\u011f renklerde kendi ruhsal durumlar\u0131n\u0131 sergilemeleri, asl\u0131nda dolayl\u0131 olarak do\u011fac\u0131 g\u00f6zlemi yeterli bulmamala\u00adr\u0131ndan ileri geliyordu. D\u0131\u015favurumcu ressam ise, kendi i\u00e7ine d\u00f6n\u00fck, d\u0131\u015f d\u00fcnyan\u0131n de\u00ad\u011fil, kendi i\u00e7inin yani psikolojik durumunun resmini yapmaktad\u0131r. D\u0131\u015f d\u00fcnyaya kar\u015f\u0131 tavr\u0131n\u0131, isyan\u0131n\u0131 resimlemektedir. Sehpas\u0131\u00adn\u0131 da bu nedenle d\u0131\u015f d\u00fcnyan\u0131n, bir modelin kar\u015f\u0131s\u0131na dikmemekledir. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

D\u0131\u015favurumcular, metafizik resim yapanlar ve \u00f6zellikle dadac\u0131\u00adlar, \u00e7a\u011fda\u015f end\u00fcstriyel ya\u015fam\u0131n yaratt\u0131\u011f\u0131 hayal k\u0131r\u0131kl\u0131\u011f\u0131na tepki g\u00f6sterdiler. Sanat, onlar i\u00e7in g\u00fczel, ince, zarif, s\u00fcsleyici i\u015flevi olan bir \u015fey de\u011fildi. Onlar\u0131n tutumu, protestocu, isyan edici, reddedici idi.<\/p>\n

D\u0131\u015favurumculuk resminde \u00f6zellikle psikoloji alan\u0131ndaki geli\u015fmelerin yans\u0131mas\u0131 kuvvetli bir bi\u00e7imde g\u00f6r\u00fclmektedir. Sigmund Freud’un ortaya koydu\u011fu psikaliz insan\u0131n zihninin g\u00f6r\u00fcnd\u00fc\u011f\u00fc gibi olmad\u0131\u011f\u0131n\u0131, derin ve karma\u015f\u0131k gizemler ta\u015f\u0131d\u0131\u011f\u0131n\u0131 ortaya koymu\u015ftur. Elbette b\u00fcy\u00fck sansasyonlar yaratan bu d\u00fc\u015f\u00fcnceden sanat\u00e7\u0131larda etkilenmi\u015ftir. \u0130nsan i\u00e7 d\u00fcnyas\u0131n\u0131n ger\u00e7ekli\u011fi g\u00fcn y\u00fcz\u00fcne \u00e7\u0131karken ger\u00e7eklik alg\u0131s\u0131nda de\u011fi\u015fimler olmas\u0131 ka\u00e7\u0131n\u0131\u015fmazd\u0131. Elbette bu resme ve edebiyata yans\u0131m\u0131\u015ft\u0131r.<\/p>\n

D\u0131\u00ad\u015favurumculukta, nesnenin optik g\u00f6\u00adr\u00fcnt\u00fcs\u00fcne ba\u011fl\u0131 bi\u00e7imleme olduk\u00e7a \u00f6nemini yitirmi\u015ftir. Bundan ba\u015fka izlenimciler’de dikkate alman \u0131\u015f\u0131k-g\u00f6lge \u00f6\u011fesi de, bu iki ak\u0131mda dikkate al\u0131nm\u0131yordu. Bunun yan\u0131nda, modle anlay\u0131\u015f\u0131 da, gene bu ak\u0131mda b\u00fcy\u00fck oranda \u00f6nemini yitiriyordu.<\/p>\n

Ekspresyonism (D\u0131\u015favurumculuk) Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

August Macke, Franz Marc, Ernst Ludwig Kirchner, Edvard Munch<\/p>\n

Neo-ekspresyonizm Ak\u0131m\u0131 Ressamlar\u0131<\/h3>\n

Anselm Kiefer, Georg Baselitz, Jean-Michel Basquiat, Eric Fischl, David Salle and Julian Schnabel, Antonio Peris carbonelli, Pablo Carreno, R\u00e9mi Blanchard, Herv\u00e9 Di Rosa, Bernard Buffet, Francesco Clemente, Paolo Salvati, Sandro Chia and Enzo Cucchi, David Hockney, Frank Auerbach and Leon Kossoff, Natalia Chernogolova<\/p>\n

Ekspresyonism (D\u0131\u015favurumculuk) Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Edvard Much, \u00c7\u0131\u011fl\u0131k
Ekspresyonizm, D\u0131\u015favurumculuk Sanat Ak\u0131m\u0131<\/p><\/div>\n

Empresyonizm<\/h2>\n

\u0130zlenimci diye adland\u0131r\u0131lan ressamlar asl\u0131nda 1865’lerden iti\u00adbaren birbirlerine ba\u011flanmaya ba\u015flarlar. Sabahlar\u0131 hep birlikte, iki\u015fer iki\u015fer sehpalar\u0131n\u0131 s\u0131rtlay\u0131p k\u0131ra, banliy\u00f6lere dalan bu res\u00adsamlar, g\u00fcne\u015fin yedi rengini, do\u011fan\u0131n \u0131\u015f\u0131k-g\u00f6lgeli atmosferini saptamak i\u00e7in \u00e7aba harcad\u0131lar. “A\u00e7\u0131k hava ressamlar\u0131” diye de adland\u0131r\u0131lan izlenimciler, g\u00fcne\u015fin ya da g\u00fcn \u0131\u015f\u0131\u011f\u0131n\u0131n nesne \u00fczerindeki \u0131\u015f\u0131k ve g\u00f6lgelerini saptama amac\u0131ndad\u0131rlar. I\u015f\u0131klar\u0131, sar\u0131-k\u0131rm\u0131z\u0131-turuncu; g\u00f6lgeleri, mavi-ye\u015fil-mor renklerle sapta\u00admaktad\u0131rlar. Resimleri, y\u0131ll\u0131k bir devlet sergisi olan “Salon”da s\u00fcrekli reddedilen bu ressamlar\u0131n yap\u0131tlar\u0131, ilk kez 1874’de bir foto\u011fraf at\u00f6lyesinin salonunda halka g\u00f6sterilmi\u015f, fakat b\u00fcy\u00fck bir tepki ile kar\u015f\u0131la\u015f\u0131lm\u0131\u015ft\u0131r. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Kendileri ile alay edilmesi bir yana, onlara \u0131\u015f\u0131k hastas\u0131 bile denmi\u015ftir. Ancak bu tarihten 20 y\u0131l son\u00adra, al\u0131nyaz\u0131lar\u0131 de\u011fi\u015fmi\u015f, bu kez de yap\u0131tlar\u0131 b\u00fcy\u00fck bir merakla aran\u0131r olmu\u015ftur. Claude Monet, Auguste Renoir, Edgar Degas, Sisley ve Pissarro, bu ak\u0131m\u0131n en \u00f6nemli sanat\u00e7\u0131lar\u0131 olmu\u015flard\u0131r. Claude Monet’nin “Soleil Levant” ya da “\u0130mpression” adl\u0131 yap\u0131t\u0131, bu ak\u0131ma bir ele\u015ftirmen tara\u00adf\u0131ndan alay olmak \u00fczere isim olarak verilmi\u015ftir. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Empresyonism (\u0130zlenimcilik) Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Claude Monet, Pierre-Auguste Renoir, Edouard Manet, Vincent van Gogh, Edgar De Gas, Paul Cezanne, Camille Pissaro,<\/p>\n

Empresyonism (\u0130zlenimcilik) Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Empresyonizm, \u0130zlenimcilik Sanat Ak\u0131mlar\u0131, Claude Monet G\u00fcn Do\u011fumu<\/p><\/div>\n

Fovizm<\/h2>\n

Fovizm (yaban\u0131l) anlay\u0131\u015f\u0131 (fovizm) \u00e7i\u011f renkler, fig\u00fcrlerin sade bi\u00e7imlere indirgeni\u015fi, kar\u015f\u0131t renkler ve ya\u015fama sevincini yans\u0131tmaya y\u00f6nelik resimsel bir anlat\u0131md\u0131. Ya\u00adni bu resim anlay\u0131\u015f\u0131nda trajik, karamsar bir i\u00e7e d\u00f6n\u00fckl\u00fck s\u00f6z ko\u00adnusu de\u011fildir. Ayr\u0131ca nesne ve fig\u00fcr renkleri, bu resim anlay\u0131\u015f\u0131n\u00adda dikkate al\u0131nmamaktad\u0131r. Hatta bu do\u011fa \u00f6\u011feleri m\u00fcmk\u00fcn ol\u00addu\u011fu oranda \u00e7i\u011f renklerle resimlenmektedir, \u00f6rne\u011fin k\u0131rm\u0131z\u0131 a\u011fa\u00e7lar, vi\u015fne\u00e7\u00fcr\u00fc\u011f\u00fc \u00e7imenler, turuncu, ye\u015fil g\u00f6kler, mavi ev\u00adler, son derece hoyrat\u00e7a tuval y\u00fczeyine s\u00fcr\u00fclm\u00fc\u015f hamur boya\u00adlarla bi\u00e7imlendirilmek istenmi\u015ftir. Do\u011fan\u0131n renk ve bi\u00e7im de\u011fil, kendi i\u00e7inin yani psikolojik durumunun resmini yapmakta\u00add\u0131r. D\u0131\u015f d\u00fcnyaya kar\u015f\u0131 tavr\u0131n\u0131, isyan\u0131n\u0131 resimlemektedir. Sehpas\u0131\u00adn\u0131 da bu nedenle d\u0131\u015f d\u00fcnyan\u0131n, bir modelin kar\u015f\u0131s\u0131na dikmemektedir. Zaten o, bir manzara ya da model kar\u015f\u0131s\u0131nda resim yapma\u00adsa da, gene kendi i\u00e7inin resmini yapmaktad\u0131r. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Fovizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Henri Matisse, Andr\u00e9 Derain,\u00a0 Albert Marquet, Charles Camoin, Louis Valtat, Henri Evenepoel, Maurice Marinot, Karl P\u00e4rsim\u00e4gi, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger,\u00a0 Kees van Dongen<\/p>\n

Fovizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Fovizm Sanat Ak\u0131m\u0131
Henri Matisse, Dans<\/p><\/div>\n

F\u00fct\u00fcrizm<\/h2>\n

\u0130talya’da \u00e7a\u011fda\u015f end\u00fcstriyel olumsuzluklar Al\u00admanya’daki gibi de\u011ferlendirilmedi. Yani bir bunal\u0131m nedeni ola\u00adrak sanat\u00e7\u0131larca ele al\u0131nmad\u0131. Aksine, bu Akdeniz yar\u0131madas\u0131nda, \u00e7a\u011fda\u015f end\u00fcstriyel giri\u015fimleri destekleyen bir sanat ak\u0131m\u0131 ortaya \u00e7\u0131kt\u0131, \u00f6rne\u011fin 1909’da \u0130talya\u2019da bir F\u00fct\u00fcrizm (futurisme) ak\u0131m\u0131, makinenin hareketlili\u011fini benimseyen bir g\u00f6r\u00fc\u015fle insanl\u0131\u011fa yararl\u0131 olmay\u0131 ama\u00e7lad\u0131. Bu ak\u0131m\u0131n temsilcileri makinay\u0131 ve onun hareketlili\u011fini resimlerine konu olarak ald\u0131lar. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Gelece\u011fe bu a\u00e7\u0131dan bakarak iyimser bir tav\u0131r tak\u0131nd\u0131lar. B\u00f6ylece end\u00fcstri\u00adnin hareketli ya\u015fam\u0131n\u0131 renk ve \u00e7izgi ile yans\u0131tan yap\u0131tlar ortaya koydular. K\u0131sacas\u0131 gelecek\u00e7ilikte dinamizm, resme verilmesi gereken bir \u00f6zd\u00fck oluyordu. Yani hareket, bu \u00e7a\u011fa \u00f6zg\u00fc yeni bir boyut idi. Bu g\u00f6r\u00fc\u015fe paralel olarak gelecek\u00e7i ressam, yap\u0131t\u0131nda bir hareketin olu\u015fumunu resimsel olarak bi\u00e7imlemek istedi.<\/p>\n

F\u00fct\u00fcrizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr\u00e0, Gino Severini, Giacomo Balla, Antonio Sant’Elia, Bruno Munari, Benedetta Cappa, Luigi Russolo, Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh, Vladimir Mayakovsky, Jules Schmalzigaug,\u00a0 Almada Negreiros<\/p>\n

F\u00fct\u00fcrizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

F\u00fct\u00fcrizm Sanat Ak\u0131m\u0131
Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin<\/p><\/div>\n

Gotik Sanat Ak\u0131m\u0131<\/h2>\n

Gotik Sanat Ak\u0131m\u0131, Kuzey Fransa’da 12. y\u00fczy\u0131lda geli\u015fen ve mimarinin de ortaya \u00e7\u0131kt\u0131\u011f\u0131 sanat bi\u00e7imidir. <\/span>Avrupa’n\u0131n hemen hemen her yerinde g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Gotik sanat di\u011fer tarzlar\u0131n d\u0131\u015f\u0131nda sofistike bir geli\u015fm g\u00f6stermi\u015ftir.<\/span> Bir\u00e7ok alanda, \u00f6zellikle Almanya’da, Ge\u00e7 Gotik sanat R\u00f6nesans sanat\u0131na dahil edilmeden \u00f6nce on alt\u0131nc\u0131 y\u00fczy\u0131la kadar devam etti.\u00a0<\/span> Heykeller, pano boyama, vitray, vitray, fresk uygulama alanlar\u0131yd\u0131. <\/span><\/span><\/p>\n

En eski Gotik Sanat tarz\u0131,\u00a0 katedrallerin, kiliselerin ve manast\u0131rlar\u0131n duvarlar\u0131nda an\u0131tsal heykeller yer alm\u0131\u015ft\u0131r. <\/span>H\u0131ristiyan sanat\u0131 genellikle Yeni Ahit ve Eski Ahit’in \u00f6yk\u00fclerini birlikte g\u00f6steren tipolojik bir nitelik ta\u015f\u0131r. <\/span>Ermi\u015flerin hayatlar\u0131 s\u0131k s\u0131k tasvir edilmi\u015ftir. <\/span>Meryem Ana’n\u0131n g\u00f6r\u00fcnt\u00fcleri, Havarilerin ve Mesih \u00f6zellikle tasvir edilen ki\u015filikler olmu\u015ftur.
\n<\/span><\/p>\n

\"\"

Gotik Sanat Ak\u0131m\u0131
Simone Martini Beato Agostino Novello<\/p><\/div>\n

Klasisizm<\/h2>\n

Frans\u0131z \u0130htilali\u2019nden sonra bu \u00fclkede benim\u00adsenen sanat, bir halk sanat\u0131 olmam\u0131\u015ft\u0131r. Aksine, idealist i\u00e7erikli ve konulu bir saray sanat\u0131 ilgi g\u00f6rm\u00fc\u015ft\u00fcr. Elbette bunun nedenle\u00adri vard\u0131r. \u00c7\u00fcnk\u00fc XVIII. y\u00fczy\u0131l\u0131n ortalar\u0131nda Pompei ve Herculanum’un ke\u015ffi, eski antik Roma heykellerinin ortaya \u00e7\u0131kar\u0131lmas\u0131 ve \u00fcnl\u00fc Alman bilim adam\u0131 Johann Winckelman’\u0131n “Anti\u00adkite Sanat\u0131 Tarihi” adl\u0131 kitab\u0131n\u0131 yay\u0131mlamas\u0131 (1764) ya\u00adn\u0131nda, bu yap\u0131t\u0131n t\u00fcm Bat\u0131 dillerine \u00e7evrilmesi, ge\u00e7mi\u015fin de\u011fer\u00adlerine olan ilgiyi heyecan duyulan bir noktaya vard\u0131rm\u0131\u015ft\u0131. Ayr\u0131\u00adca Winckelman’\u0131n Barok sanat\u0131 k\u00f6t\u00fclemesi ve Grek sanat\u0131n\u0131 g\u00f6klere \u00e7\u0131karmas\u0131, barok \u00fcsluplu \u00e7al\u0131\u015fmalar\u0131 \u00e7ok yava\u015flatm\u0131\u015ft\u0131. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Hegel’den Goethe’ye ve hatta Schopenhauer’e de\u011fin Avrupa’n\u0131n o s\u0131ralar t\u00fcm b\u00fcy\u00fck d\u00fc\u015f\u00fcn\u00fcrleri de Grek ve Roma sanatlar\u0131n\u0131, sa\u00adnat\u0131n varabilece\u011fi son a\u015fama olarak kabul etmi\u015flerdir. Grek-Roma antikitesinin \u00fcst\u00fcnl\u00fc\u011f\u00fc, otoritelerce kabul edilince, t\u00fcm Avrupa ba\u015fkentlerinde Grek tap\u0131naklar\u0131n\u0131n, al\u0131nl\u0131kt\u0131 \u00e7evresi, s\u00fctunlu bi\u00e7imi, devlet yap\u0131lar\u0131ndan kiliselere, saray yap\u0131lar\u0131ndan zengin evlerine de\u011fin her t\u00fcrl\u00fc mimaride uygulanmaya ba\u015flam\u0131\u015f\u00adt\u0131. Hatta antikiteyi inceleyerek, edebiyat ve plastik sanatlar\u0131 ye\u00adnileme d\u00fc\u015f\u00fcncesi \u00f6ylesine yayg\u0131nla\u015ft\u0131 ki, Frans\u0131z klasisist okulu\u00adnun b\u00fcy\u00fck temsilcisi Jacques Louis David bile Louvre \u2018da kurdu\u011fu akademisinde bu y\u00f6nde bir e\u011fitime b\u00fcy\u00fck \u00f6nem verdi.<\/p>\n

Klasisizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Jacques-Louis David, Bernini, Nicolas Mignard, Nicolas Poussin, Gerard de Lairesse, Claude Lorrain, Barth\u00e9lemy Prieur<\/p>\n

Klasisizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Klasisizm Sanat Ak\u0131m\u0131,
Jacques-Louis David, Horaslar\u0131n Yemini<\/p><\/div>\n

Konstruktivizm<\/h2>\n

Soyut resimde, lekeci bir esteti\u011fe dayanmayan, rastlant\u0131 bir bi\u00e7imlemeye yer vermeyen, geometrik in\u015fac\u0131 bir ak\u0131m da ortaya \u00e7\u0131kt\u0131. Asl\u0131nda k\u00fcbist ak\u0131mda da geometrik bir in\u015fa s\u00f6z konusu idi. Ancak bu geometrizm nesne ve fig\u00fcrleri geometrik y\u00fczeyler halinde bir par\u00e7alamaya ve ortaya \u00e7\u0131kan y\u00fczeyleri ise kesin \u00e7iz\u00adgilerle s\u0131n\u0131rlamaya dayan\u0131yordu. Ortaya \u00e7\u0131kan yeni geometrik \u00f6\u011felere dayanan ak\u0131m ise, yaln\u0131z salt geometrik bi\u00e7imlerin re\u00adsimsel etkisini ama\u00e7l\u0131yordu. K\u0131sacas\u0131 bi\u00e7imlerin safl\u0131\u011f\u0131n\u0131, yal\u0131n\u00adl\u0131\u011f\u0131n\u0131 hedef al\u0131yordu. Konstr\u00fcktivizm (\u0130n\u015fac\u0131l\u0131k, Constructivisme) denen bu soyut ak\u0131m\u0131n ilk yarat\u0131c\u0131s\u0131 (Malevi\u00e7) Malewitsch idi. Resmi m\u00fcmk\u00fcn oldu\u011fu oranda en az \u00f6\u011feden olu\u015fturmak isteyen bu sanat\u00e7\u0131, beyaz bir zemin \u00fczerine boyanan siyah bir dikd\u00f6rtgenin p\u00fcr kat\u0131l\u0131\u011f\u0131n\u0131 bir yap\u0131t i\u00e7in yeterli g\u00f6r\u00fcyordu. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

\u0130n\u015fac\u0131l\u0131k (Constructivisme) denen bu soyut ak\u0131m\u0131n ilk yarat\u0131c\u0131s\u0131 (Malevi\u00e7) Malewitsch idi. Resmi m\u00fcmk\u00fcn oldu\u011fu oranda en az \u00f6\u011feden olu\u015fturmak isteyen bu sanat\u00e7\u0131, beyaz bir zemin \u00fczerine boyanan siyah bir dikd\u00f6rtgenin p\u00fcr kat\u0131l\u0131\u011f\u0131n\u0131 bir yap\u0131t i\u00e7in yeterli g\u00f6r\u00fcyordu. Bu kat\u0131 siyah dik\u00add\u00f6rtgen, Malewitch’e g\u00f6re salt resimsel bir \u00f6\u011fe idi ve bir yap\u0131t i\u00e7in de yeterli idi. K\u0131sacas\u0131 bu ressam, salt bi\u00e7imi sapt\u0131yordu. B\u00f6yle olunca, onun resminde oylum-nesne ili\u015fkisi gibi sorunlar \u00f6nemini yitiriyordu.<\/p>\n

Konstr\u00fcktivizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Alexander Rodchenko, Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, Aleksei Gan, Boris Arvatov, Osip Brik, Alexander Vesnin, Moisei Ginzburg<\/p>\n

Konstr\u00fcktivizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Konstr\u00fcktivizm Sanat Ak\u0131m\u0131, Alexander Rodchenko, Costume design for We<\/p><\/div>\n

K\u00fcbizm<\/h2>\n

K\u00fcbist bi\u00e7imleme, bu kez nesne-fi\u00adg\u00fcr bi\u00e7imlemelerinin par\u00e7alanmas\u0131, bizzat do\u011fa kar\u015f\u0131s\u0131nda yap\u0131lmaya ba\u015fland\u0131. Hatta bu par\u00e7alama i\u015fleminde renk, \u00f6zellikle bir yana b\u0131rak\u0131ld\u0131. Nesnelerin optik bi\u00e7imlerini resimde par\u00e7alaya\u00adrak yok etmeyi, materyalist g\u00f6r\u00fc\u015fe bir tepki olarak kabul eden\u00adler g\u00f6r\u00fcld\u00fc<\/span>. Bu ak\u0131m\u0131n yarat\u0131c\u0131\u00adlar\u0131 olan Picasso Ve Braque, 1907’de a\u00e7\u0131lan Cezanne sergi\u00adsinden sonra (1907), kendi aralar\u0131nda yapt\u0131klar\u0131 konu\u015fmalar so\u00adnucu, resimden perspektifi almak ve bunun i\u00e7in de nesnenin do\u00ad\u011fal g\u00f6r\u00fcnt\u00fcs\u00fcnden uzakla\u015fmak, gereklili\u011fine inand\u0131klar\u0131n\u0131 belirt\u00admi\u015flerdir. Sanat Ak\u0131mlar\u0131<\/em><\/span>
\n<\/span><\/p>\n

Ancak b\u00fct\u00fcn bunlara ra\u011fmen k\u00fcbistler, do\u011fa\u00adda g\u00f6r\u00fclen bi\u00e7imlerin kimi tan\u0131nabilir \u015fematik bi\u00e7imlerini ta\u00admamen terk etmediler. Bu nedenledir ki, bu resimsel bi\u00e7imlerde ortadan kalkan, yaln\u0131z nesne ve fig\u00fcrlerin optik g\u00f6r\u00fcnt\u00fc mant\u0131\u011f\u0131 id<\/span>i. \u00fcbist bi\u00e7imlemenin geli\u015fmesi ile ortaya \u00e7\u0131kan, ger\u00e7ek do\u00ad\u011fa g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc de\u011fil, ger\u00e7e\u011fini yakalamak oldu\u011fu idi. \u00c7\u00fcnk\u00fc ger\u00e7ek, yani do\u011fan\u0131n ger\u00e7e\u011fi, asl\u0131nda do\u011fan\u0131n g\u00f6r\u00fcnt\u00fcs\u00fc de\u011fildi. Bunu bilim de kan\u0131tl\u0131yordu. Bir kere, bir insan\u0131n yandan g\u00f6r\u00fcn\u00adt\u00fcs\u00fcnde insan\u0131n bir g\u00f6z\u00fc g\u00f6r\u00fcl\u00fcyordu.<\/p>\n

Georges Braque, Pablo Picasso, Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand L\u00e9ger, Juan Gri<\/p>\n

K\u00fcbizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

K\u00fcbizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131, Pablo Picasso, Cezayirli Kad\u0131nlar<\/p><\/div>\n

Lekecilik Sanat Ak\u0131m\u0131, Tchisme, Ta\u015fizm<\/h2>\n

Kesin bi\u00e7ime dayanmayan “art informel” ak\u0131m\u0131, \u00f6zellikle Lekecilik ve “Aksiyon Resmi” ile b\u00fcy\u00fck g\u00fc\u00e7 kazand\u0131 Lekecilik (uchisme) ad\u0131, Frans\u0131z “tache” leke s\u00f6zc\u00fc\u011f\u00fcnden \u00e7\u0131kar\u0131ld\u0131. Lekeci ressam, bir kapta suland\u0131rd\u0131\u011f\u0131 renkli boyanan, kontrols\u00fcz olarak resim zeminine ak\u0131tarak, s\u0131\u00e7ratarak, serperek birbirine kar\u0131\u015ft\u0131rarak, kaz\u0131yarak ya da t\u00fcpten do\u011frudan do\u011fruya s\u0131karak olu\u015fturmaya \u00e7al\u0131\u015f\u0131yordu. Burada, kompozisyon d\u00fc\u015f\u00fcncelinin ilk bak\u0131\u015fta g\u00f6z \u00f6n\u00fcnde tutuloluyormu\u015f gibi g\u00f6r\u00fcnmesine ra\u011fmen, gene de etkilerin y\u00f6netilmesi, an\u0131nda yap\u0131lan davran\u0131\u015flarla ger\u00ad\u00e7ek le\u015ftir ilebiliyordu. Yani genel olarak lekeci bir resim, birbiri arka una yap\u0131lan boyama davran\u0131\u015flar\u0131n\u0131n sonucu olmas\u0131na ra\u011f\u00admen, gene de kompozisyonda bir kararl\u0131l\u0131\u011f\u0131, bir etki yaratabilmektedir. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Lekecilik Sanat Ak\u0131mlar\u0131 \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Jean-Paul Riopelle, Wols, Jean Dubuffet, Pierre Soulages, Nicolas de Sta\u00ebl, Hans Hartung, Serge Poliakoff, Georges Mathieu and Jean Messagier<\/p>\n

Lekecilik Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Lekecilik Sanat Ak\u0131m\u0131, Tchisme, Ta\u015fizm<\/p><\/div>\n

Neoklasisizm<\/h2>\n

18. y\u00fczy\u0131ldan sonra ortaya \u00e7\u0131kan Neoklasizm Sanat Ak\u0131m\u0131, sanatta Yunan ve Roma gelene\u011fini temel alarak yeni bir anlay\u0131\u015f geli\u015ftirmi\u015ftir. Dekoratif, g\u00f6rsel sanatlar, edebiyat, tiyatro, m\u00fczik ve mimari alanda etkileri g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Antik Yunan veya Antik Roma “klasik” sanat ve k\u00fclt\u00fcr ya da klasik ak\u0131m olarak adland\u0131r\u0131lmaktad\u0131r. Neoklasizim 1550’li y\u0131llarda Roma’da do\u011fdu. Yeniden canland\u0131r\u0131lan Greko-Romen idealleri \u0130talya’dan t\u00fcm Avrupa’ya yay\u0131lm\u0131\u015ft\u0131r. Neoklasik sanat hareketi Ayd\u0131nlanma d\u00f6nemine rastlam\u0131\u015f ve Romantizm sanat ak\u0131m\u0131yla rekabet etti\u011fini s\u00f6ylemek yerinde bir tespit olur. Neoklasizm 19. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda da devam etmi\u015ftir ancak mimaride 21. y\u00fczy\u0131la kadar devam etmi\u015ftir. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Avrupa’da Neoklasizm, Barok ve Rokoko Sanat Ak\u0131mlar\u0131na muhalif oldu\u011fu s\u00f6ylenebilir. Neoklasik mimari anay\u0131\u015f\u0131 Roma ve Antik Yunan sanat\u0131n\u0131 erdem olarak g\u00f6r\u00fcrd\u00fc. 16. y\u00fczy\u0131l R\u00f6nesans’\u0131nda Klasik sanat anlay\u0131\u015f\u0131\u00a0 sadelik ve simetri ilkelerine dayanmaktad\u0131r.<\/p>\n

Neo-Klasisizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Nicolai Abildgaard, Francisco Agust\u00edn y Grande, Giuseppe Appian,i Francisco Bayeu y Sub\u00edas, Giovanni Carlo Bevilacqua, Adam Buck, Giuseppe Cammarano, Antonio Carnicero, Sante Cattaneo, Franz Caucig, Charles-Alexandre Co\u00ebssin de la Fosse, Agostino Comerio, Jonas Damelis, Anna Rosina de Gasc, Camillo Guerra, Gavin Hamilton (artist), Franti\u0161ek Hor\u010di\u010dka, Alexander Andreyevich Ivanov, Angelica Kauffman, Wilhelmina Krafft, Giuseppe Levati, Anton Losenko, Anton\u00edn Machek, Ang\u00e9lique Mongez, Domenico Vantini, Joseph-Marie Vien, Herbert William Weekes<\/p>\n

Neo-Klasisizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Neo-Klasisizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/p><\/div>\n

Post Empresyonizm<\/h2>\n

Post Empresyonizm izleyen Georges Seurat ve Paul Signac’\u0131n ortaya att\u0131klar\u0131 Yeni \u0130zlenimcilik’te s\u0131cak-so\u011fuk renk sistemi reddedilmektedir. Ancak izlenimcilerin terk ettikleri nes\u00adne bi\u00e7imini yeniden resme sokmak istemi\u015flerdir. Ayr\u0131ca renk\u00adlerin palet \u00fczerinde kar\u0131\u015ft\u0131r\u0131lmas\u0131 i\u015flemini b\u0131rakm\u0131\u015flar, saf renk\u00adleri yan yana tu\u015flar halinde koyarak, bunlar\u0131n optik etkilerle g\u00f6ze kar\u0131\u015fm\u0131\u015f olarak g\u00f6r\u00fcnmesini ama\u00e7 edinmi\u015flerdir. Yani renklerin palet \u00fczerinde kar\u0131\u015ft\u0131r\u0131lmas\u0131 yerine, g\u00f6z\u00fcm\u00fczde olu\u015fan optik kar\u0131\u015f\u0131m\u0131 esas olarak benimsemi\u015flerdir. Bu nedenle, nesne\u00adlerin bi\u00e7imi Yeni – izlenimcilerle yeniden ele al\u0131nmas\u0131na kar\u015f\u0131n, bu kez nesnelerin ger\u00e7ek renkleri bir tarafa b\u0131rak\u0131lmak zorunlu\u011fu ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Bunun yan\u0131nda Yeni-izlenimci ressamlar\u0131 renkleri noktalar halindeki tu\u015flarla resim y\u00fczeyine koyduklar\u0131n dan, bi\u00e7imleri geometrik y\u00fczeylere indirgemek, dolayl\u0131 olarak ayr\u0131nt\u0131dan uzakla\u015fmak zorunda kalm\u0131\u015flard\u0131. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Ayr\u0131ca Yeni-\u0130zlenimcilerde de, renge renkle kar\u015f\u0131l\u0131k vermek \u00e7abas\u0131 izlenimciler\u00adde oldu\u011fu gibi s\u00fcrd\u00fc. B\u00f6ylece \u0131\u015f\u0131k-g\u00f6lge gene izlenimcilerde oldu\u011fu gibi renklere indirgenmi\u015f oldu.<\/p>\n

Post Empresyonizm (Yeni- \u0130zlenimcilik) Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Georges Seurat (1859-1891), Paul Signac (1863-1935), Camille Pissarro (1830-1903), Albert Dubois-Pillet (1846-1890), Henri-Edmond Cross (1856-1910), Charles Angrand (1856-1926), Jan Toorop (1858-1928), Maximilien Luce (1858-1941), Leo Gausson (1860-1944), Theo Van Rysselberghe (1862-1926), Lucien Pissarro (1863-1944), Louis Hayet (1864-1940), Henri Matisse (1869-1954), Hippolyte Petitjean, Felix Pissarro, Antoine de la Rochefoucauld,<\/p>\n

Post Empresyonizm (Yeni- \u0130zlenimcilik) Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\"\"

Post Empresyonizm (Yeni- \u0130zlenimcilik) Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/p><\/div>\n

Modernizm<\/h2>\n

Modernizm k\u00fclt\u00fcrel e\u011filimleri ve de\u011fi\u015fikliklerle birlikte, 19. ve erken 20. y\u00fczy\u0131llarda\u00a0 Bat\u0131 toplumunda geni\u015f kapsaml\u0131 d\u00f6n\u00fc\u015f\u00fcmler ortaya \u00e7\u0131kt\u0131, bir felsefi bir de\u011fi\u015fimdi. M<\/span>odern end\u00fcstriyel toplumlar\u0131n geli\u015fimin neticesinde \u015fehirler h\u0131zl\u0131 b\u00fcy\u00fcd\u00fc. Birinci D\u00fcnya Sava\u015f\u0131 korkular Ayd\u0131nlanma d\u00fc\u015f\u00fcncelerinin reddedilmesine neden oldu ve bir\u00e7ok modernist dini inanc\u0131 reddetti.<\/span><\/span><\/p>\n

Modernizm bir dizi k\u00fclt\u00fcrel \u015foklar\u0131n etkisiyle kuruldu. <\/span>Bu b\u00fcy\u00fck \u015foklar\u0131n ilki 1. D\u00fcnya Sava\u015f\u0131’d\u0131r, 1914 ile 1918 Avrupa’y\u0131 kas\u0131p kavurmu\u015ftur. Bilimin ve teknolojinin vaat etti\u011fi, Ayd\u0131nlanma’n\u0131n besledi\u011fi evrensel insan fikri yerle bir olmu\u015f, k\u0131ta Avrupas\u0131 \u00fczerinde b\u00fcy\u00fck katliamlar meydana gelmi\u015ftir. Elbette bu vah\u015fetin sonunda derin bir korku ve endi\u015fe kalm\u0131\u015f insanlar gelece\u011fe umutsuzlukla bakmaya ba\u015flam\u0131\u015flard\u0131r.\u00a0 Sanat Ak\u0131mlar\u0131<\/em><\/span>
\n<\/span><\/span><\/p>\n

Modernizm merkezi me\u015fgalesi insan\u0131n bilin\u00e7 ve bilin\u00e7alt\u0131d\u0131r. <\/span>Romantik d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fcn aksine, <\/span>ilerleme ve b\u00fcy\u00fcme yerine modernist ayd\u0131nlar \u00e7\u00fcr\u00fcme ve bireyin b\u00fcy\u00fcyen yabanc\u0131la\u015fmas\u0131n\u0131 koyar. <\/span>Modern toplumun makinesel yap\u0131s\u0131, sanatsal d\u00fcrt\u00fcye ki\u015filiksiz kapitalist ve kar\u015f\u0131t olarak alg\u0131lanmaktad\u0131r.<\/span><\/span><\/p>\n

Modernizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Piet Mondrian, Egon Schiele, Ludwig Mies van der Rohe’s, Reina Sof\u00eda, Pablo Picasso, Jean Metzinger, Andr\u00e9 Masson, Edward Johnston, Marjorie FitzGibbon,\u00a0 Marcel Proust, Virginia Woolf, Robert Musil, Dorothy Richardson<\/p>\n

Modernizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Naif Sanat Ak\u0131m\u0131 (Naive)<\/h2>\n

Naif sanat ak\u0131m\u0131, profesyonel olmayan bir sanat\u00e7\u0131n\u0131n (anatomi, sanat tarihi, tekni\u011fi, bak\u0131\u015f a\u00e7\u0131s\u0131, g\u00f6rme \u015fekilleri) ge\u00e7irdi\u011fi \u00f6rg\u00fcn e\u011fitim ve \u00f6\u011fretimden yoksun bir ki\u015fi taraf\u0131ndan olu\u015fturulmu\u015f her t\u00fcrl\u00fc g\u00f6rsel sanat\u0131 anlatmak i\u00e7in kullan\u0131lan bir sanat terimidir. <\/span>Bu estetik e\u011fitimli bir sanat\u00e7\u0131 taraf\u0131ndan taklit edildi\u011finde, sonu\u00e7 bazen ilkellik, sahte-naif sanat, ya da sahte saf sanat olarak adland\u0131r\u0131l\u0131r. <\/span>Halk sanat\u0131n\u0131n aksine saf sanat, mutlaka ayr\u0131 bir k\u00fclt\u00fcrel ba\u011flam veya gelene\u011fin kan\u0131tlanmad\u0131\u011f\u0131 anlam\u0131na gelir. <\/span>Do\u011fal sanat, \u00e7ocuk\u00e7a basitlik ve samimiyet i\u00e7in tan\u0131n\u0131r ve taklit edilir.\u00a0 Bu t\u00fcr tablolar\u0131n tipik olarak ilk bak\u0131\u015f a\u00e7\u0131s\u0131 ile d\u00fcz bir i\u015fleme tarz\u0131 vard\u0131r. <\/span><\/span><\/p>\n

Do\u011fal olmayan sanat\u0131n etkili ressamlar\u0131ndan biri, Pablo Picasso taraf\u0131ndan ke\u015ffedilen Frans\u0131z Post-Empresyonist Henri Rousseau’d\u0131r, ancak \u00e7a\u011fda\u015flar\u0131 taraf\u0131ndan hafife al\u0131nan ve a\u011f\u0131r \u015fakalar yap\u0131lan bir ressamd\u0131r Henri.
\n<\/span><\/p>\n

Naif Sanat Ak\u0131m\u0131n\u0131n Ressamlar\u0131 Kimlerdir?<\/h3>\n

Camille Bombois (1883\u20131970), Denys Corbet (1826\u20131910), Henry Darger (1892\u20131973). Oluf Braren (1787\u20131839), Justus DaLee (1793\u20131878), Edward Hicks (1780\u20131849), Joshua Johnson (1763-1824), 19th century James Bard (1815\u20131897), Ilija Ba\u0161i\u010devi\u0107 (1895\u20131972), Andr\u00e9 Bauchant (1873\u20131958), Theora Hamblett (1895\u20131977).<\/p>\n

Naif Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Pop- Art Sanat Ak\u0131m\u0131<\/h2>\n

Pop\u00fcler bir sanata yani “Pop\u2014Art”a geliniyordu. Rausc Menberg ya da Rivers bu nedenle pop-ort’\u0131n \u00f6nc\u00fcleri say\u0131l\u00adm\u0131\u015ft\u0131. \u00c7\u00fcnk\u00fc bu sanat\u00e7\u0131lar\u0131n resimlerinde kolajlar, foto\u011fraflar, hatta afi\u015fler ve haritalar bile yer al\u0131yordu. Yani \u00f6nceden bas\u0131l\u00adm\u0131\u015f resimler kesilerek yeni bir resmin \u00d6\u011feleri haline getiriliyor\u00addu. \u00c7\u00fcnk\u00fc bu sanat\u00e7\u0131lar i\u00e7in, bir \u015feyin i\u015flevini de\u011fi\u015ftirmekle, onun yeni bir yap\u0131t\u0131n \u00f6\u011fesi yap\u0131labilece\u011fi g\u00f6r\u00fc\u015f\u00fc, ge\u00e7erli say\u0131l\u0131\u00adyordu. Hatta pop sanat\u00e7\u0131lar\u0131, tuval y\u00fczeyini \u0131\u015f\u0131\u011fa kar\u015f\u0131 hassas hale getirip, foto\u011fraf filmlerini do\u011frudan do\u011fruya yap\u0131tlar\u0131na alabiliyorlard\u0131. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

K\u0131sacas\u0131 hareket resmindeki rastlant\u0131ya dayanan boyama olanaklar\u0131yla fig\u00fcratif resimler yap\u0131lmas\u0131 g\u00f6r\u00fc\u015f\u00fc ve \u00f6zellikle kolaja b\u00fcy\u00fck yer verilmesi, pop-art anlay\u0131\u015f\u0131na uygun zemini ha\u00adz\u0131rlam\u0131\u015ft\u0131. Ancak pop-art, yap\u0131lan uygulamalar nedeniyle resim alan\u0131n\u0131n s\u0131n\u0131rlar\u0131n\u0131 a\u015fm\u0131\u015f ve heykele, hatta mimarl\u0131\u011fa bile el at\u00adm\u0131\u015ft\u0131r. \u00c7\u00fcnk\u00fc pop sanat\u00e7\u0131lar\u0131, tuval y\u00fczeyine meyve sand\u0131klar\u0131\u00adn\u0131, tahtalar\u0131, testereleri, \u00e7alg\u0131 aletlerini hatta tuvalet klozetlerini bile \u00e7akm\u0131\u015flard\u0131r. Bu kolaj durumu, ku\u015fkusuz Picasso ve Braque’m resimlerinde de bu denli a\u015f\u0131r\u0131 olmamakla birlikte yer al\u00adm\u0131\u015ft\u0131. Ancak onlarda, boyasal anlat\u0131m gene de birinci planda kalm\u0131\u015ft\u0131. Fakat Picasso, at\u0131lm\u0131\u015f makina par\u00e7alar\u0131n\u0131, bir bisiklet direksiyonunu ve onun oturma yerini kullanarak ready made’lerin \u00d6nc\u00fcl\u00fc\u011f\u00fc olan kimi heykeller yapm\u0131\u015ft\u0131. Ancak o, kolaj\u0131, resimlerinde pop\u00e7ular gibi \u015fa\u015f\u0131rt\u0131c\u0131 \u00f6l\u00e7\u00fcde kullanmam\u0131\u015ft\u0131.<\/p>\n

Pop-Art ve Op-Art Sanat Ak\u0131mlar\u0131 \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Andy Warhol, Roy Lichtenstein<\/span>, James Rosenquist<\/span>, Claes Oldenburg<\/span>, Richard Hamilton, Tom Wesselmann, Sigmar Polke, Eduardo Paolozzi, David Hockney, Alex Katz, George Segal, Ed Ruscha, Robert Rauschenberg, Jasper Johns<\/p>\n

Pop-Art ve Op-Art Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Op-Art Sanat Ak\u0131m\u0131<\/h2>\n

1960’larda ortaya \u00e7\u0131kan ve s\u00fcratle yay\u0131lan pop-art’\u0131n kar\u015f\u0131s\u0131\u00adna, OP-ART ve Kinetik (cinetique) diye adland\u0131r\u0131lan yeni sanat ak\u0131mlar\u0131 daha da tutarl\u0131 boyasal \u00e7al\u0131\u015fmalarla \u00e7\u0131kt\u0131. 1962’de bir ele\u015ftirmen taraf\u0131ndan ad konulan bu yeni ak\u0131m, yani Op- Art = Optical Art, ne lekeci ne de soyut hareket resmi gibi rastlant\u0131ya dayanan bir resmetmeyi benimsiyordu. Op-art’ ta, pop-art gibi t\u00fcketim toplumunun g\u00fcnl\u00fck kulland\u0131\u011f\u0131 e\u015fyalar da kolaj bi\u00e7iminde tuvale yap\u0131\u015ft\u0131r\u0131lm\u0131yordu. Sanat Ak\u0131mlar\u0131<\/em><\/span><\/p>\n

Op-art\u00e7\u0131, resimde fig\u00fcre dayanmayan saf geometrik bi\u00e7imleri, ak\u0131lc\u0131, irtical\u0131ktan uzak, yaln\u0131z cetvelin kesinli\u011fi ile s\u0131n\u0131rland\u0131r\u0131lm\u0131\u015f olarak d\u00fczenli\u00adyordu. Boyama i\u015fleminde ise, str\u00fckt\u00fcr de\u011ferlendirmesini hi\u00e7 dikkate alm\u0131yordu. Bu ak\u0131m\u0131n resimlerinde bazen bir tek bi\u00e7imselli\u011fi g\u00f6r\u00fcl\u00fcr.<\/p>\n

Op-Art Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Victor Vasarely, Bridget Riley, Frank Stella, Jesus Rafael Soto, Josef Albers<\/p>\n

Op-Art Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Postmodernizm<\/h2>\n

Felsefi bak\u0131\u015f\u0131n kavray\u0131\u015fl\u0131 genelli\u011finden bakt\u0131\u011f\u0131m\u0131zda postmodernizmi \u201cbelirleyen \u015fey, \u00f6ncelikle modernli\u011fe veya Descartes taraf\u0131ndan kurulan modernizme y\u00f6nelik radikal bir ele\u015ftiridir. Post modernizm her \u015feyden \u00f6nce modernli\u011fin ak\u0131lc\u0131l\u0131\u011f\u0131na, akl\u0131n b\u00fct\u00fcn alanlarda, insanl\u0131\u011f\u0131n t\u00fcm problemlerini \u00e7\u00f6zebilecek mutlak otorite olmas\u0131na itiraz eder. Postmodernizm, modernitenin ahlaki iddialar\u0131na, modern \u00f6znede temellenen evrensel etik d\u00fc\u015f\u00fcncesine, \u00f6zellikle de yararc\u0131l\u0131k ve bireycilik diye ifade edilen etik anlay\u0131\u015flara \u015fiddetle kar\u015f\u0131 \u00e7\u0131kar. Postmodernizm, politik veya sosyal nitelikli, k\u00fcresel, her \u015feyi kucaklay\u0131c\u0131 b\u00fct\u00fcn d\u00fcnya g\u00f6r\u00fc\u015flerine itiraz ederken, Marksizm, fa\u015fizm, Stalinizm, liberalizm ve modern bilim ideolojisi benzeri t\u00fcm b\u00fcy\u00fck ideoloji ve d\u00fcnya g\u00f6r\u00fc\u015flerini, s\u00f6zmerkezci, a\u015fk\u0131n ve b\u00fct\u00fcnselle\u015ftirici b\u00fcy\u00fck anlat\u0131lar\u201d olarak g\u00f6r\u00fcr ve t\u00fcm b\u00fcy\u00fck anlat\u0131lar\u0131n insan(l\u0131\u011f)a trajik deneyimler ya\u015fatmas\u0131 nedeniyle, onlar\u0131 reddeder denebilir.<\/p>\n

Bu uzun tan\u0131mlamaya kar\u015f\u0131n postmodernizm, itirazlar\u0131 ve y\u0131kt\u0131\u011f\u0131 bitti\u011fini s\u00f6yledi\u011fi bunca \u015feyin yerine bir \u015feyler koyamamas\u0131 nedeniyle s\u0131\u011f bulunup ele\u015ftirilere maruz kalm\u0131\u015ft\u0131r. D\u00fcnya tarihinde ele\u015ftiriye u\u011framam\u0131\u015f bir d\u00fc\u015f\u00fcncenin var olmad\u0131\u011f\u0131n\u0131 da s\u00f6ylemek gerekir. Postmodernizm a\u00e7\u0131s\u0131ndan s\u0131k\u0131nt\u0131ya yol a\u00e7an sebep, modernizme kar\u015f\u0131 \u00e7\u0131kmas\u0131na ve ona kar\u015f\u0131 y\u0131k\u0131c\u0131 olmas\u0131na ra\u011fmen, insanl\u0131\u011fa bir se\u00e7enek sunmamas\u0131d\u0131r. Burada denilebilir ki, postmoderni \u00f6zel k\u0131lan taraf budur, \u00e7\u00fcnk\u00fc insanl\u0131\u011fa bir hedef g\u00f6steren her ne \u00e7\u0131km\u0131\u015fsa sonunda insanl\u0131\u011fa bolca h\u00fcsran arma\u011fan etmi\u015ftir. Bu bak\u0131mdan postmodern alternatifsizli\u011fin, bir k\u0131s\u0131rl\u0131k de\u011fil, bir tercih oldu\u011funu kabul etmek gerekir.<\/p>\n

Postmodernizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Justin Michael Jenkins, Robert Rauschenberg, Johanna Drucker, Aydin Aghdashloo, Robert Carlton Breer, Edward Cleeve Horne, Ricky Swallow, Jos\u00e9 Antonio Severino Bernal Mu\u00f1oz, William Powhida, Donray, Rafael Trelles, Cathy Cooper, Stieg Persson<\/p>\n

Postmodernizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Puantilizm<\/h2>\n
\n

Frans\u0131zca point ten t\u00fcremi\u015f olan Pointillisme kelimesinin dilimize aktar\u0131lm\u0131\u015f hali . T\u00fcrk\u00e7e tam kar\u015f\u0131l\u0131\u011f\u0131: Noktac\u0131l\u0131k. Bir sanat ak\u0131m\u0131 . Noktac\u0131l\u0131k<\/strong> veya puantilizm, 19. y\u00fczy\u0131l sonlar\u0131 ve 20. y\u00fczy\u0131l ba\u015flar\u0131nda Frans\u0131z Neo-empresyonist (yeni izlenimci) ressamlar taraf\u0131ndan yayg\u0131n olarak kullan\u0131lm\u0131\u015f bir resim tekni\u011fidir. Bu teknikle yap\u0131lan resimlerde, \u00e7ok say\u0131da ufak temel renk noktas\u0131, birbiriyle kar\u0131\u015ft\u0131r\u0131lmadan bir araya getirilerek izleyicinin g\u00f6z\u00fcnde \u00e7e\u015fitli ara renklerin ill\u00fczyonu olu\u015fturulur.<\/p>\n<\/div>\n

Puantilizm<\/strong> kelimesi ilk olarak 1880`lerde bu teknikle alay eden sanat ele\u015ftirmenleri taraf\u0131ndan kullan\u0131lm\u0131\u015f olsa da, bug\u00fcn k\u00fc\u00e7\u00fcmseme anlam\u0131 i\u00e7ermez.<\/p>\n

Puantilizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Georges Seurat, Paul Signac, Henri-Edmond Cross, Georges Lemmen, Camille Pissarro, Jean Metzinger, Hippolyte Petitjean, Ren\u00e9 Sch\u00fctzenberger, Robert Delaunay, Maximilien Luce,<\/p>\n

Puantilizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Realizm<\/h2>\n

Fransa’s\u0131nda ilk ger\u00ad\u00e7ek\u00e7i (realist) ressam olarak il\u00e2n eden Gustave Courbet de \u00f6nem kazanm\u0131\u015ft\u0131r. O da Daumier gibi toplumcu g\u00f6r\u00fc\u015flere sahip\u00adtir ve hatta kimi politik olaylara bile kar\u0131\u015fm\u0131\u015ft\u0131r. Courbet, ken\u00addini ger\u00e7ek\u00e7i il\u00e2n etmekle birlikte, onun bug\u00fcnk\u00fc de\u011ferlendirili\u00ad\u015fi, daha \u00e7ok bir do\u011fac\u0131 (nat\u00fcralist) oldu\u011fu merkezindedir. An\u00adcak onun ger\u00e7ek\u00e7ili\u011fi, Daumier gibi i\u00e7 d\u00fcnyas\u0131n\u0131n zengin izle\u00adnimleriyle ilgili de\u011fildir ve gene Daumier gibi hayalden \u00e7al\u0131\u015f\u00admam\u0131\u015ft\u0131r. O, \u00e7al\u0131\u015fmas\u0131n\u0131n ba\u015f\u0131ndan sonuna de\u011fin tamamen do\u00ad\u011fa kar\u015f\u0131s\u0131nda kalm\u0131\u015f ve yap\u0131t\u0131n\u0131 o bi\u00e7imde bitirmi\u015ftir. Onun ‘Ta\u015f K\u0131ranlar”\u0131, “K\u00f6yde Bir G\u00f6mme T\u00f6reni” ya da “At\u00f6lye”si, hep kendine model olanlar\u0131 bir araya toplayan re\u00adsimlerdir. K\u0131sacas\u0131, k\u0131rsal kesimin ki\u015filerini bir araya getiren portreler toplulu\u011fudur. Onun ger\u00e7ek\u00e7i dedi\u011fi anlay\u0131\u015f\u0131nda, \u0131\u015f\u0131k- g\u00f6lge ile bi\u00e7im, bir arada ifade edilmi\u015flerdir. Onun manzaralar\u0131, ormanda geyikleri de ayn\u0131 g\u00f6zlemlerin sonucu olmu\u015ftur.<\/p>\n

Realizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Gustave Courbet, Pieter Aertsen, Joachim Beuckelaer, Annibale Carracci, Bartolomeo Passerotti,Pieter Bruegel,\u00a0 Jusepe de Ribera, Vel\u00e1zquez, Adriaen Brouwer, David Teniers, Robin Varol<\/p>\n

Realizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Rokoko Sanat Ak\u0131m\u0131<\/h2>\n

Barokun son a\u015famas\u0131 olarak de\u011ferlendirilen Rokoko<\/a> ile Ro\u00adman sanat\u0131ndan bu yana olan \u00fcslupsal geli\u015fim, yani arkaik, klasik ve barok \u00fcslup a\u015famalar\u0131 biter ve b\u00f6ylece t\u00fcm monar\u015fik d\u00f6nemlerin tar\u0131m ekonomili sanatlar\u0131 son bulur. \u00c7\u00fcnk\u00fc 1789 Frans\u0131z \u0130htil\u00e2li yaln\u0131z Avrupa barok saray saltanat\u0131n\u0131 sona erdir\u00admez, ayn\u0131 zamanda parlamenter, end\u00fcstriyel ekonomili bir yeni \u00e7a\u011f\u0131 da ba\u015flat\u0131r. Hatta b\u00f6ylece mimari, resim ve heykel sanatla\u00adr\u0131na ait b\u00fcy\u00fck \u00fcsluplar d\u00f6nemi de son bulur.<\/p>\n

Barok\u2019un son d\u00f6nemini i\u00e7eren Rokoko<\/a>‘da, duvarlar ve tavan\u00adlar “Rocaille” denen midye kabu\u011fu bi\u00e7iminden esinlenmi\u015f bir s\u00fcsleme \u00f6rgesi yan\u0131nda, kabartma olarak bi\u00e7imlenmi\u015f meyve\u00adler, \u00e7i\u00e7ekler ve salk\u0131mlarla s\u00fcsleniyordu. Ayr\u0131ca asimetrik bir du\u00advar d\u00fczeni de benimsenme\u011fe ba\u015flanm\u0131\u015ft\u0131. Duvarlara bol yaprakl\u0131 a\u011fa\u00e7lar aras\u0131ndan bakan hayvan resimleri yapmak da moda hali\u00adne gelmi\u015ftir. Rokoko<\/a> d\u00f6neminde yap\u0131lan k\u00fc\u00e7\u00fck kas\u0131rlara Eremitage ya da Sanssouci gibi adlar verilmi\u015f ve \u00e7ok sevilmi\u015f\u00adtir.<\/p>\n

Oyma grav\u00fcr tekni\u011fi XVIII. y\u00fczy\u0131lda \u00f6zellikle kitap resimle\u00admesinde ba\u015fvurulan bir olanak oldu. Bu y\u00fczy\u0131lda Venedikli Piranesi ve Canaletto, bu kentten \u00e7e\u015fitli g\u00f6r\u00fcnt\u00fcleri gene bu yeni teknikle ger\u00e7ekle\u015ftirdiler. Alman grav\u00fcrc\u00fcleri de av ve hay\u00advan resimlerini \u00e7o\u011faltt\u0131lar. Tarama ve noktalama i\u00e7in gerekli aletlerin yap\u0131ld\u0131\u011f\u0131 XVIII. y\u00fczy\u0131lda, so\u011fuk oyma (asitsiz) ile en g\u00fczel \u00f6rnekler de ger\u00e7ekle\u015ftirildi. Barok ve rokoko \u00fcslubunda olan bu bask\u0131lar, serbest, artistik bir el yaz\u0131s\u0131n\u0131n da rahatl\u0131\u011f\u0131n\u0131 yans\u0131tt\u0131lar. Sanat Ak\u0131mlar\u0131<\/em><\/p>\n

Rokokonun, resmi, heyke\u00adli ve dekorasyonu ile hizmetinde bulundu\u011fu saray, 1789 \u0130htil\u00e2li ile \u00f6nce Fransa’da, yava\u015f yava\u015f da di\u011fer Avrupa \u00fclkelerinde g\u00fc\u00adc\u00fcn\u00fc yitirip y\u0131k\u0131l\u0131nca, eski ilk b\u00fcy\u00fck uygarl\u0131klardan bu yana s\u00fc\u00adren monar\u015fi y\u00f6netimli, tar\u0131m ekonomili toplumlar\u0131n sanatlar\u0131 da ortadan kalk\u0131yordu.<\/p>\n

Rokoko Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Jacopo Amigoni, Paolo Anesi, Giorgio Anselmi, Giuseppe Baldrighi, Antonio Balestra, Giuseppe Bazzani, Antonio Beccadelli (painter), Bellino Bellini, Antonio Bellucci,Giuseppe Bonito, Fran\u00e7ois Boucher, Pietro Capelli, Carlo Carlone, Andrea Casali, Jean-Baptiste-Sim\u00e9on Chardin, Giambettino Cignaroli. Giovanni Domenico Cignaroli,Giovanni Battista Cipriani. Sanat Ak\u0131mlar\u0131<\/em><\/p>\n

Rokoko Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Romantizim Sanat Ak\u0131m\u0131<\/h2>\n

Klasisizm, t\u00fcm fig\u00fcr\u00fc saran kesin \u00e7izgili bir desene y\u00f6nelirken, romantik \u00e7izim, bi\u00e7imi, \u0131\u015f\u0131k ve g\u00f6lgesiyle b\u00fct\u00fcnle\u015ftiren adeta karalama anlay\u0131\u015f\u0131 getiri\u00adyordu. Bu romantik desen, tamamen do\u011fac\u0131 bir tutuma ba\u011fl\u0131 olup model kar\u015f\u0131s\u0131nda yap\u0131l\u0131yordu. Ayr\u0131ca, klasisistlerdeki idealize etme g\u00f6r\u00fc\u015f\u00fc ile kesin bir e\u011friler kompozisyonu yaratma g\u00f6\u00adr\u00fc\u015f\u00fcne de tamamen ters oluyordu. Bunlar yan\u0131nda renk klasisist resimde ikinci planda kal\u0131rken, romantik resimde renk, bi\u00adrinci planda \u00f6nem kazan\u0131yordu. Klasisizmde itibar g\u00f6rmeyen sert \u0131\u015f\u0131k-g\u00f6lge kar\u015f\u0131tl\u0131\u011f\u0131 da romantizmde \u00e7ok seviliyordu.<\/p>\n

\u00c7\u00fcnk\u00fc yukar\u0131da de\u011finildi\u011fi gibi, romantik resimde do\u011fac\u0131 yani nat\u00fcralist anlat\u0131m, model kar\u015f\u0131s\u0131nda al\u0131nan dolays\u0131z izlenimlerin heyecan\u0131na dayan\u0131yordu. Bu nedenle \u0131\u015f\u0131k-g\u00f6lge, romantik resmin \u00f6nemli bir \u00f6\u011fesi idi. Ayr\u0131ca, romantik resimde boyama, tu\u015fsal bir bi\u00e7imlemeyle oluyordu. Oysa klasisizmde, resim bezi \u00fczerinde f\u0131r\u00e7a izinin g\u00f6r\u00fclmesi bile istenmiyordu. Klasisist resim ya da heykelde, sakin fig\u00fcrler benimsendi\u011fi halde, romantikte, fig\u00fcrler i\u00e7in heyecanl\u0131 hareketler ve konular kullan\u0131l\u0131yordu. An\u00adcak, bu \u00f6zellikler yaln\u0131z Frans\u0131z romantik resmine aittir ve \u00f6rne\u00ad\u011fin bir Alman romantizminde s\u00f6z konusu de\u011fildir. Alman ro\u00admantik resminde klasisist bir bi\u00e7imleme, romantik konular\u0131n i\u015f\u00adlenmesinde de kullan\u0131lm\u0131\u015ft\u0131r. Sanat Ak\u0131mlar\u0131<\/em><\/p>\n

Romantizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Eug\u00e8ne Delacroix, Ingres, Th\u00e9odore G\u00e9ricault, Joseph Anton Koch, James Ward, Gordale Scar, John Constable, J. C. Dahl, William Blake, J. M. W. Turner, Ivan Aivazovsky, William Blake, Karl Bryullov, Hans Gude, John Martin,<\/p>\n

Romantizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Sembolizm<\/h2>\n

Simgecilik ak\u0131m\u0131 Gauguin’in Pont-Aven Okulu’nda yer alan sanat\u00e7\u0131larca ustalar\u0131n\u0131n g\u00f6r\u00fc\u015flerine uygun olarak benimsendi. Ancak bu ak\u0131m\u0131n esas temsilcileri Nabis denen ressamlar oldular. Maur\u0131ce Denis, \u00e7evresinde topla\u00adnan bu simgeciler ise daha \u00e7ok dinsel konularda resimler yapt\u0131\u00adlar. Bonnard ye Vuillard da Nabis ressamlar\u0131ndand\u0131lar. \u0130svi\u00e7reli Erdinand Hodler’de \u00e7izgisel fig\u00fcr anlat\u0131m\u0131nda olan bir simgecili\u011fi temsil etmi\u015ftir. Sanat Ak\u0131mlar\u0131<\/em><\/p>\n

Asl\u0131nda simgecilik de, insan i\u00e7ine d\u00f6n\u00fck bir anlat\u0131m bi\u00e7imi\u00addir. Ancak bu ak\u0131m resimden \u00e7ok edebiyat alan\u0131nda yap\u0131tlar vermi\u015ftir. D\u0131\u015favurumculuk ak\u0131m\u0131nda da durum ayn\u0131 olmu\u015ftur.<\/p>\n

\u00c7a\u011f\u0131n dram\u0131, insan ile \u00e7evresi aras\u0131nda giderek b\u00fcy\u00fcyen an\u00adla\u015fmazl\u0131k ve z\u0131tl\u0131\u011fa dayan\u0131yordu. Bu \u00e7evre ve insan z\u0131tl\u0131\u011f\u0131 da resimde renk ve bi\u00e7im kar\u015f\u0131tl\u0131\u011f\u0131 olarak yans\u0131maktad\u0131r.<\/p>\n

Sembolizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Gustav Klimt, Edvard Munch, Gustave Moreau, Frida Kahlo, Arnold B\u00f6cklin, Odilon Redon, Eug\u00e8ne Henri Paul Gauguin, Sir Edward Coley Burne-Jones, Nicholas Roerich, Franz Stuck, Fernand Edmond Jean Marie Khnopff, Mikhail Vasilyevich Nesterov, \u00c9mile Henri Bernard, Mikhail Aleksandrovich Vrubel, Eug\u00e8ne Anatole Carri\u00e8re, Ludwig Fahrenkrog<\/p>\n

Sembolizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Soyut D\u0131\u015favurumcu Sanat Ak\u0131m\u0131<\/h2>\n

Soyut d\u0131\u015favurumculuk 1940’larda New York’ta geli\u015fen bir sanat ak\u0131m\u0131d\u0131r. Amerikan resminde kendini g\u00f6steren ak\u0131m\u00a0 \u0130kinci D\u00fcnya Sava\u015f\u0131 sonras\u0131 sanat hareketidir. Uluslararas\u0131 etki bak\u0131m\u0131ndan genelde sanat\u0131n ba\u015fkenti say\u0131lan Paris yerine\u00a0 New York \u015fehrini koymu\u015f ve b\u00f6ylelikle aslen bir Amerikan hareketi olmu\u015ftur. Soyut d\u0131\u015favurumculuk terimi ilk olarak Robert Coates taraf\u0131ndan 1946 y\u0131l\u0131nda dile getirilmi\u015ftir.<\/p>\n

Soyut D\u0131\u015favurumculuk teknik olarak, ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fc\u011f\u00fcn spontane ve belirlenmezli\u011fi ile Tachizm ekol\u00fcnde oldu\u011fu gibi, tuval \u00fczerinde bilin\u00e7alt\u0131 yaratma \u00fczerine kurgusunu temel alan yani Jackson Pollock damlama boya, Andr\u00e9 Masson, Max Ernst, ve David Alfaro Siqueiros \u00e7al\u0131\u015fmalar\u0131na k\u00f6ken olarak ele alan olan bir tekniktir.Paalen kuantum mekani\u011finin fikirlerini yan\u0131nda totemsel fikirlerle mekansal fikirlerle yerli resmin temelini haz\u0131rlam\u0131\u015ft\u0131r.<\/p>\n

Soyut D\u0131\u015favurumcu Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Jackson Pollock 1912-1956 Amerikal\u0131 Ressam. Lawrence Calcagno 1913-1993 Amerikal\u0131 Ressam. Philip Guston 1913-1980 Kanadal\u0131\/Amerikal\u0131 Ressam. Ibram Lassaw 1913-2003 Amerikal\u0131 Heykelt\u0131ra\u015f. Conrad Marca-Relli 1913-2000 Amerikal\u0131 Ressam. Ad Reinhardt 1913-1967 Amerikal\u0131 Ressam. William Scott 1913-1989 \u0130ngiliz Ressam. Sam Francis 1923-1994 Amerikal\u0131 Ressam. Paul Jenkins 1923-2012 Amerikal\u0131 Ressam. Jean Paul Riopelle 1923-2002 Kanadal\u0131 Ressam. Richard Stankiewicz 1923-1983 Amerikal\u0131 Assemblage Artist. Antoni Tapies 1923-2012 \u0130spanyol Ressam. Jasper Johns Born 1930 Amerikal\u0131 Ressam\/Heykelt\u0131ra\u015f. Raphael Collazo 1943-1990 Amerikal\u0131 Ressam\u00a0\u00a0 \u00a0, \u00dcmit Kara Ressam Ankara T\u00fcrkiye. Joseph Marioni Born 1943 Amerikal\u0131 Ressam. Sanat Ak\u0131mlar\u0131<\/em><\/p>\n

Soyut D\u0131\u015favurumcu Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Suprematizm Sanat Ak\u0131m\u0131 Nedir<\/h2>\n

S\u00fcprematizm, s\u0131n\u0131rl\u0131 say\u0131da renk kullanarak\u00a0 daire, kare, \u00e7izgiler ve dikd\u00f6rtgenler gibi temel geometrik formlara odaklanm\u0131\u015f bir sanat hareketidir. 1913 civar\u0131nda, Rusya’da Kazimir Malevi\u00e7 taraf\u0131ndan kurulan ve Malevi\u00e7’in 1915 sergisi F\u00fct\u00fcrist Fuar\u0131nda ilan edildi. Malevi\u00e7 d\u0131\u015f\u0131nda on \u00fc\u00e7 ressaam\u0131n benzer tarzda<\/span> 36<\/span> eser<\/span> sergilendi.<\/span> S\u00fcprematizm; nesnelerin<\/span> g\u00f6rsel tasviri \u00fczerinde “<\/span>saf<\/span> sanatsal duygu \u00fcst\u00fcnl\u00fc\u011f\u00fc” dayanan bir soyut sanat anlam\u0131na gelir<\/span>. Sanat Ak\u0131mlar\u0131.<\/em>
\n<\/span><\/p>\n

E\u015fek Tail ve Der Blaue Reiter (Mavi Rider) k\u00fcbik-f\u00fct\u00fcrist \u00e7al\u0131\u015fmalar\u0131 ile 1912 y\u0131l\u0131nda sergilerde yer alan Kazimir Malevi\u00e7 Suprematizm kavram\u0131n\u0131 geli\u015ftirmi\u015ftir. B<\/span>oyama, \u015fiir ve tiyatro yeni sanatsal bi\u00e7imlerin \u00e7o\u011falmas\u0131 Rusya’n\u0131n yan\u0131 s\u0131ra geleneksel halk sanat\u0131n\u0131n canlanmas\u0131na zengin bir ortam sa\u011flad\u0131.<\/span><\/span><\/p>\n

Suprematizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Kazimir Malevich, Ilya Chashnik\u00a0\u00a0 \u00a0Ilya Chashnik, El Lissitzky, Alexander Rodchenko, Olga Rozanova,\u00a0\u00a0 \u00a0Nikolai Suetin, Vera Yermolayeva.<\/p>\n

Suprematizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

S\u00fcrrealizm (Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck) Sanat Ak\u0131m\u0131<\/h2>\n

Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck 1920’lerin ba\u015f\u0131nda ba\u015flayan\u00a0 k\u00fclt\u00fcrel bir harekettir ve en iyi g\u00f6rsel sanat eserleri ve yaz\u0131lar\u0131 ile tan\u0131n\u0131r. Ama\u00e7 “r\u00fcya ve ger\u00e7eklik aras\u0131ndaki\u00a0 \u00e7eli\u015fkili ko\u015fullar\u0131 gidermek oldu. Sanat\u00e7\u0131lar, foto\u011fraf hassasiyetle sinir bozucu, mant\u0131ks\u0131z sahneleri boyal\u0131 bilin\u00e7siz kendini ifade i\u00e7in, g\u00fcndelik nesneler ve geli\u015fmi\u015f boyama teknikleri garip yarat\u0131klar yaratt\u0131. Sanat Ak\u0131mlar\u0131.<\/em><\/p>\n

S\u00fcrrealist \u00e7al\u0131\u015fmalar s\u00fcrpriz olarak, beklenmedik biti\u015fiklikler ve tutars\u0131zl\u0131ktad\u0131r. Ancak, pek \u00e7ok s\u00fcrrealist sanat\u00e7\u0131 ve yazar\u00a0 eserleri bir objeden\u00a0 \u00f6nce felsefi hareketin ifadesi olarak\u00a0 g\u00f6rmektedir.\u00a0 Andr\u00e9 Breton S\u00fcrrealizm’i, her \u015feyden \u00f6nce, bir devrimci hareket oldu\u011funu onun iddias\u0131n\u0131 a\u00e7\u0131k\u00e7a dile getirmi\u015ftir.<\/p>\n

Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck I. D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda Dada faaliyetlerinin d\u0131\u015f\u0131nda geli\u015fmi\u015f ve hareketin en \u00f6nemli merkezi Paris oldu. 1920’lerden itibaren, hareket sonunda g\u00f6rsel sanatlar, edebiyat, film ve bir\u00e7ok \u00fclkede ve dilde m\u00fczik yan\u0131 s\u0131ra siyasi d\u00fc\u015f\u00fcnce ve uygulama, felsefe ve sosyal teori etkileyen, d\u00fcnya \u00e7ap\u0131nda yay\u0131ld\u0131.<\/p>\n

S\u00fcrrealizm Ak\u0131m\u0131n\u0131n \u00d6nde Gelen Ressam, Heykeltra\u015f ve Sanat\u00e7\u0131lar\u0131<\/h3>\n

Salvador Dali<\/a>, Max Ernst, Giorgio de Chirico, Ren\u00e9 Magritte, Marc Chagall, Kay Sage, Carlo Carr\u00e0, Yves TanGuy, Man Ray, Joan Miro, Hans Arp<\/p>\n

S\u00fcrrealizm Sanat Ak\u0131m\u0131 Resim, Tablo ve \u00c7al\u0131\u015fmalar<\/h3>\n
\n\t\t\t\t
\n\t\t\t\t\t
<\/div>
<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n

Arthipo Sanat Ak\u0131mlar\u0131 Galerisi \u0130\u00e7in t\u0131klay\u0131n\u0131z.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Sanat Ak\u0131mlar\u0131 Nelerdir, \u00d6zellikleri Sanat ak\u0131mlar\u0131, g\u00f6rsel sanatlar\u0131n, resim, heykel gibi dallar\u0131nda; teknik, tarz, soyutlama, deformasyon gibi \u00f6zelliklerin de\u011fi\u015fmesiyle ortaya \u00e7\u0131kan k\u00f6kl\u00fc sanatsal de\u011fi\u015fimleri tan\u0131mlamak i\u00e7in kullan\u0131lmaktad\u0131r. Elbette sanat ak\u0131mlar\u0131n\u0131n etkileri felsefi, d\u00fc\u015f\u00fcnce ve edebiyata kadar uzan\u0131r. 1789 y\u0131l\u0131, Fransa’da krall\u0131k rejiminin y\u0131k\u0131ld\u0131\u011f\u0131 ve cumhuriyet yani parlamenter d\u00f6nemin ba\u015flad\u0131\u011f\u0131 y\u0131ld\u0131r. Ancak daha \u00f6nemli\u00adsi bu olay\u0131 […]<\/p>\n","protected":false},"author":1,"featured_media":13171,"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":[124],"tags":[],"class_list":["post-6246","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nSanat Ak\u0131mlar\u0131 - Arthipo<\/title>\n<meta name=\"description\" content=\"Sanat ak\u0131mlar\u0131 nelerdir \u00f6zellikleri D\u0131\u015favurumculuk Barok Realizm Klasizm K\u00fcbizm Neoklasizm Empresyonizm Pop Art Postmodernizm Soyut ak\u0131m\u0131\" \/>\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\/sanat-akimlari.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sanat Ak\u0131mlar\u0131 - Arthipo\" \/>\n<meta property=\"og:description\" content=\"Sanat ak\u0131mlar\u0131 nelerdir \u00f6zellikleri D\u0131\u015favurumculuk Barok Realizm Klasizm K\u00fcbizm Neoklasizm Empresyonizm Pop Art Postmodernizm Soyut ak\u0131m\u0131\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html\" \/>\n<meta property=\"og:site_name\" content=\"Arthipo\" \/>\n<meta property=\"article:published_time\" content=\"2016-11-12T13:09:31+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-09-18T19:20:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/11\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"853\" \/>\n\t<meta property=\"og:image:height\" content=\"480\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Arthipo\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arthipo\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"40 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html\"},\"author\":{\"name\":\"Arthipo\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/#\\\/schema\\\/person\\\/6e6d44de4da80cf3bf805d0e1c9d7ed8\"},\"headline\":\"Sanat Ak\u0131mlar\u0131\",\"datePublished\":\"2016-11-12T13:09:31+00:00\",\"dateModified\":\"2021-09-18T19:20:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html\"},\"wordCount\":8126,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/wp-content\\\/uploads\\\/2016\\\/11\\\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg\",\"articleSection\":[\"Sanat Tarihi\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html\",\"url\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html\",\"name\":\"Sanat Ak\u0131mlar\u0131 - Arthipo\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/wp-content\\\/uploads\\\/2016\\\/11\\\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg\",\"datePublished\":\"2016-11-12T13:09:31+00:00\",\"dateModified\":\"2021-09-18T19:20:09+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/#\\\/schema\\\/person\\\/6e6d44de4da80cf3bf805d0e1c9d7ed8\"},\"description\":\"Sanat ak\u0131mlar\u0131 nelerdir \u00f6zellikleri D\u0131\u015favurumculuk Barok Realizm Klasizm K\u00fcbizm Neoklasizm Empresyonizm Pop Art Postmodernizm Soyut ak\u0131m\u0131\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#breadcrumb\"},\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#primaryimage\",\"url\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/wp-content\\\/uploads\\\/2016\\\/11\\\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg\",\"contentUrl\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/wp-content\\\/uploads\\\/2016\\\/11\\\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg\",\"width\":853,\"height\":480,\"caption\":\"Sanat ak\u0131mlar\u0131 nelerdir, \u00f6zellikleri a\u00e7\u0131klama \u00f6rnekler, What are art movements, features artistic styles, explanation, examples\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/sanat-tarihi\\\/sanat-akimlari.html#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Anasayfa\",\"item\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Sanat Ak\u0131mlar\u0131\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/#website\",\"url\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/\",\"name\":\"Arthipo\",\"description\":\"Arthipo modern sanat resim galerisi ya\u011fl\u0131 boya tablo reprod\u00fcksiyon satmak klasik soyut eser kanvas bask\u0131 yapt\u0131rma poster sat\u0131\u015f\u0131 sat\u0131n almak\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"tr\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/#\\\/schema\\\/person\\\/6e6d44de4da80cf3bf805d0e1c9d7ed8\",\"name\":\"Arthipo\",\"url\":\"https:\\\/\\\/www.arthipo.com\\\/artblog\\\/author\\\/admin\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Sanat Ak\u0131mlar\u0131 - Arthipo","description":"Sanat ak\u0131mlar\u0131 nelerdir \u00f6zellikleri D\u0131\u015favurumculuk Barok Realizm Klasizm K\u00fcbizm Neoklasizm Empresyonizm Pop Art Postmodernizm Soyut ak\u0131m\u0131","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html","og_locale":"tr_TR","og_type":"article","og_title":"Sanat Ak\u0131mlar\u0131 - Arthipo","og_description":"Sanat ak\u0131mlar\u0131 nelerdir \u00f6zellikleri D\u0131\u015favurumculuk Barok Realizm Klasizm K\u00fcbizm Neoklasizm Empresyonizm Pop Art Postmodernizm Soyut ak\u0131m\u0131","og_url":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html","og_site_name":"Arthipo","article_published_time":"2016-11-12T13:09:31+00:00","article_modified_time":"2021-09-18T19:20:09+00:00","og_image":[{"width":853,"height":480,"url":"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/11\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg","type":"image\/jpeg"}],"author":"Arthipo","twitter_card":"summary_large_image","twitter_misc":{"Yazan:":"Arthipo","Tahmini okuma s\u00fcresi":"40 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#article","isPartOf":{"@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html"},"author":{"name":"Arthipo","@id":"https:\/\/www.arthipo.com\/artblog\/#\/schema\/person\/6e6d44de4da80cf3bf805d0e1c9d7ed8"},"headline":"Sanat Ak\u0131mlar\u0131","datePublished":"2016-11-12T13:09:31+00:00","dateModified":"2021-09-18T19:20:09+00:00","mainEntityOfPage":{"@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html"},"wordCount":8126,"commentCount":0,"image":{"@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#primaryimage"},"thumbnailUrl":"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/11\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg","articleSection":["Sanat Tarihi"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html","url":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html","name":"Sanat Ak\u0131mlar\u0131 - Arthipo","isPartOf":{"@id":"https:\/\/www.arthipo.com\/artblog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#primaryimage"},"image":{"@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#primaryimage"},"thumbnailUrl":"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/11\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg","datePublished":"2016-11-12T13:09:31+00:00","dateModified":"2021-09-18T19:20:09+00:00","author":{"@id":"https:\/\/www.arthipo.com\/artblog\/#\/schema\/person\/6e6d44de4da80cf3bf805d0e1c9d7ed8"},"description":"Sanat ak\u0131mlar\u0131 nelerdir \u00f6zellikleri D\u0131\u015favurumculuk Barok Realizm Klasizm K\u00fcbizm Neoklasizm Empresyonizm Pop Art Postmodernizm Soyut ak\u0131m\u0131","breadcrumb":{"@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#breadcrumb"},"inLanguage":"tr","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html"]}]},{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#primaryimage","url":"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/11\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg","contentUrl":"https:\/\/www.arthipo.com\/artblog\/wp-content\/uploads\/2016\/11\/sanat-akimlari-nelerdir-ozellikleri-aciklama-ornekler.jpg","width":853,"height":480,"caption":"Sanat ak\u0131mlar\u0131 nelerdir, \u00f6zellikleri a\u00e7\u0131klama \u00f6rnekler, What are art movements, features artistic styles, explanation, examples"},{"@type":"BreadcrumbList","@id":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/sanat-akimlari.html#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Anasayfa","item":"https:\/\/www.arthipo.com\/artblog\/"},{"@type":"ListItem","position":2,"name":"Sanat Ak\u0131mlar\u0131"}]},{"@type":"WebSite","@id":"https:\/\/www.arthipo.com\/artblog\/#website","url":"https:\/\/www.arthipo.com\/artblog\/","name":"Arthipo","description":"Arthipo modern sanat resim galerisi ya\u011fl\u0131 boya tablo reprod\u00fcksiyon satmak klasik soyut eser kanvas bask\u0131 yapt\u0131rma poster sat\u0131\u015f\u0131 sat\u0131n almak","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.arthipo.com\/artblog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"tr"},{"@type":"Person","@id":"https:\/\/www.arthipo.com\/artblog\/#\/schema\/person\/6e6d44de4da80cf3bf805d0e1c9d7ed8","name":"Arthipo","url":"https:\/\/www.arthipo.com\/artblog\/author\/admin"}]}},"_links":{"self":[{"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/posts\/6246","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/comments?post=6246"}],"version-history":[{"count":0,"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/posts\/6246\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/media\/13171"}],"wp:attachment":[{"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/media?parent=6246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/categories?post=6246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.arthipo.com\/artblog\/wp-json\/wp\/v2\/tags?post=6246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}