{"id":6263,"date":"2016-11-06T19:32:37","date_gmt":"2016-11-06T17:32:37","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=6263"},"modified":"2023-01-12T17:21:59","modified_gmt":"2023-01-12T14:21:59","slug":"realizm-sanat-akimi","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/realizm-sanat-akimi.html","title":{"rendered":"Realizm Sanat Ak\u0131m\u0131"},"content":{"rendered":"
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Realizm Sanat Ak\u0131m\u0131<\/h2>\n

Realizm Sanat Ak\u0131m\u0131, romantiklerin; varl\u0131\u011f\u0131 ve hayat\u0131 ruhun kaderine ba\u011flayan lu\u0308zumundan fazla \u015fahsi sanat\u0131n\u0131n, bir tepki yapmas\u0131 do\u011fald\u0131. Elbette arkas\u0131ndan bir halk sanat\u0131 gelecekti.<\/span><\/p>\n

Nas\u0131l ki romantizm klasizme bir ba\u015fkald\u0131r\u0131 say\u0131labilir\u00a0ise ger\u00e7ek\u00e7ilik yani realizm<\/strong> ise, hem klasizme hem de romantizme bir ba\u015fkald\u0131r\u0131 say\u0131labilir.<\/span><\/p>\n

Romantizmin dramatik bi\u00e7imlere, kal\u0131plara kar\u015f\u0131 olan tutumu realizmin yolunu a\u00e7m\u0131\u015ft\u0131r. Bu ak\u0131m 19 yy. Avrupas\u0131\u2019 nda g\u00f6r\u00fclen toplumsal ve ekonomik de\u011fi\u015fimlerden epeyce\u00a0etkilenmi\u015ftir.<\/span><\/p>\n

Realizm nedir ?<\/h3>\n

1839 y\u0131l\u0131nda ortaya \u00e7\u0131kan bu ak\u0131m; akademilerdeki sayg\u0131n resim yap\u0131tlar\u0131na, sayg\u0131n insanlar\u0131, dini konular\u0131, saray ve saray ya\u015fant\u0131lar\u0131n\u0131, se\u00e7kin ki\u015filerin portrelerini ve do\u011fay\u0131 oldu\u011fundan daha g\u00fczel g\u00f6stererek g\u00fczel manzaralar\u0131n i\u015flenmesi gelenegine kar\u015f\u0131 \u00e7\u0131kar. Konu ve \u00fcslup bak\u0131m\u0131ndan ya\u015fam\u0131 ve do\u011fay\u0131 oldu\u011fu gibi yans\u0131tma, bi\u00e7imleme anlay\u0131\u015f\u0131 ile toplumun ya\u015fam\u0131n\u0131 ger\u00e7ek boyutlar\u0131yla ortaya seren Realizm anlay\u0131\u015f\u0131 i\u00e7inde, do\u011fadaki oranlar, plastik de\u011ferler, renk ve \u0131\u015f\u0131k de\u011ferleri aynen yans\u0131t\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131r.<\/span><\/p>\n

Bir b\u00f6l\u00fcm sanat\u00e7\u0131 1848 devrimi s\u0131ras\u0131nda ,Fransa\u2019 da Barbizon Kasabas\u0131nda , Constable\u2019 nin \u00f6\u011fretisini izlemek ve do\u011faya yeni bir g\u00f6zle bakmak i\u00e7in bir araya geldi. Bunlardan birisi olan Fran\u00e7ois Millet, bu \u00f6\u011fretiyi manzaralardan fig\u00fcre ge\u00e7erek geni\u015fletmeyi kararla\u015ft\u0131rd\u0131. K\u00f6y ya\u015fam\u0131ndan sahneleri ger\u00e7ekte olduklar\u0131 gibi yapmak , tarlada \u00e7al\u0131\u015fan erkek ve kad\u0131nlar \u00e7izmek istedi. Bunun devrimsel bir \u015fey say\u0131lmas\u0131n\u0131 d\u00fc\u015f\u00fcnmek ilgin\u00e7tir. Ama ge\u00e7mi\u015fin sanat\u0131nda , \u00e7ift\u00e7iler Bruegel\u2019 in onlar\u0131 resmetti\u011fi bi\u00e7imde g\u00fcl\u00fcn\u00e7 k\u00f6yl\u00fcler olarak g\u00f6r\u00fcrler genellikle.<\/span><\/p>\n

 <\/p>\n

\"realizm<\/a>

Millet ‘in eseri : frau beim brotbacken<\/p><\/div>\n

Realizm’in amac\u0131 nedir?<\/span><\/h3>\n

Ama\u00e7, sanat\u0131 klasik ve romantik ak\u0131mlar\u0131n yapayl\u0131\u011f\u0131ndan kurtarmak, \u00e7a\u011fda\u015f eserler \u00fcretmek ve konular\u0131n\u0131 \u00f6ncelikle y\u00fcksek s\u0131n\u0131flar ve temalarla ilgili de\u011fil, toplumsal s\u0131n\u0131flar ve temalar aras\u0131ndan se\u00e7mekti. Realizmin amac\u0131, g\u00fcnl\u00fck ya\u015fam\u0131n \u00f6nyarg\u0131s\u0131z, bilimsel bir tutumla incelenmesi ve bir bilim adam\u0131n\u0131n klinik bulgular\u0131na benzer nesnel bir bak\u0131\u015f a\u00e7\u0131s\u0131yla ortaya konmas\u0131d\u0131r<\/span><\/p>\n<\/div>\n

\u00dcnl\u00fc sanat\u00e7\u0131lar\u0131 kimlerdir ?\u00a0<\/span><\/h3>\n

Fransa\u2019da realizmin ba\u015fl\u0131ca ustalar\u0131 Millet, Courbet, Daumier\u2019dir.<\/span><\/p>\n

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Millet<\/span><\/strong><\/h4>\n

K\u00f6yl\u00fc hayat\u0131n\u0131n ressamlar\u0131ndand\u0131r. \u00c7ok fakir idi. B\u00fct\u00fcn \u00f6mr\u00fcn\u00fc Paris civar\u0131nda bir k\u00f6yde, Barbizon\u2019da ge\u00e7irdi.<\/span><\/p>\n

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

Onun k\u00f6yl\u00fcs\u00fc k\u0131r \u015fiirinin \u015fah\u0131slar\u0131ndan olmay\u0131p, zahmet \u00e7eken g\u00fcrb\u00fcz bir i\u015f\u00e7idir. Bu k\u00f6yl\u00fcler, kaba y\u00fcnl\u00fcler giymi\u015f olduklar\u0131 ve elleri nas\u0131rl\u0131 bulundu\u011fu halde yine Poussin\u2019in kahramanlan gibi d\u00fc\u015f\u00fcnmektedirler. Ufkun \u00fczerinde heybetli ama, y\u0131pranm\u0131\u015f g\u00f6r\u00fcn\u00fcr ve parlak bir sadelikle, toprakla insan aras\u0131ndaki \u00e7ok eski savas\u0131n h\u00fczn\u00fcn\u00fc anlat\u0131rlar<\/span>
\nMillet\u2019in \u00fcnl\u00fc tablosu \u2018Ba\u015fak toplayan Kad\u0131nlar\u2019 \u0131nda dramatik veya \u00f6yk\u00fcsel\u00a0bir \u015fey oldu\u011fu s\u00f6ylenemez. Hasat zaman\u0131nda bir tarlada \u00e7etin i\u015flerine dalm\u0131\u015f 3 ki\u015fi sadece. Bu eserde\u00a0k\u0131rlar\u0131n safl\u0131\u011f\u0131n\u0131 an\u0131msatan bir \u015fey de bulamazs\u0131n\u0131z.<\/p>\n

Gustave Courbet<\/span><\/strong><\/h4>\n

Bu ak\u0131m\u0131 en iyi \u015fekilde tan\u0131mlayan ressam Gustave Courbet<\/strong> \u201c\u00a0Ben hi\u00e7 melek resmi yapmad\u0131m, \u00e7\u00fcnk\u00fc hi\u00e7 melek g\u00f6rmedim<\/span>.\u201d\u009d demi\u015ftir<\/span><\/p>\n

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Anlad\u0131\u011f\u0131m kadar zaman\u0131m\u0131n halini, du\u0308\u015fu\u0308ncelerini, a\u0302detlerini ifade etmek, sadece bir ressam de\u011fil bir adam olmak istiyorum. Ga\u0302yem ya\u015fayan sanat\u0131 verebilmektir.<\/span><\/p><\/blockquote>\n

Bu ak\u0131m\u0131n ad\u0131n\u0131 koyan ki\u015fi Gustave Courbet (1819-1877) olmu\u015ftur.1855 y\u0131l\u0131nda , bir barakada a\u00e7t\u0131\u011f\u0131 ki\u015fisel sergisine \u2018Le Realisme, G.Courbet (ger\u00e7ekcilik, G.Courbet ) ad\u0131n\u0131 verdi. Courbet\u2019in ger\u00e7ek\u00e7ili\u011fi , sanatta bir devrimin ba\u015flang\u0131c\u0131 olacakt\u0131. Do\u011fadan ba\u015fka kimsenin \u00f6\u011frencisi olmak istemiyordu Courbet. Onun \u00f6zniteli\u011fi ve program\u0131, Caravaggio\u2019 nunkine yak\u0131nd\u0131 bir bak\u0131ma. Zarifli\u011fi de\u011fil ger\u00e7e\u011fi ar\u0131yordu .<\/span><\/p>\n

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

A\u015fk<\/a> ve ihtirasla resim yap\u0131yordu. Geleneklerin kurallar\u0131na ald\u0131r\u0131\u015f etti\u011fi yoktu. Bunun ic\u0327in uzun zaman k\u0131ymeti bilinmedi.<\/span><\/p>\n

Courbet, kendisini, s\u0131rt\u0131nda resim ara\u00e7 gere\u00e7leri ile k\u0131rda y\u00fcr\u00fcrken resmetmi\u015ftir. (1854) Bir dostu ve koruyucusunun onu selamlamas\u0131n\u0131 konu edinen tabloya Courbet \u2018 G\u00fcnayd\u0131n Bay Courbet\u2019 ad\u0131n\u0131 vermi\u015ftir. Akademik sanat\u0131n , etkilemeye y\u00f6nelik tablolar\u0131na al\u0131\u015fk\u0131n birisine bu tablo \u00e7ocuk\u00e7a g\u00f6r\u00fcnm\u00fc\u015ft\u00fcr mutlaka. Ne zarif duru\u015flar, ne g\u00f6z\u00fc hemen etkileyen renkler var. <\/span><\/p>\n

Bu sade s\u0131ralan\u0131\u015f\u0131yla kar\u015f\u0131la\u015ft\u0131r\u0131nca, Millet\u2019in \u2018\u2019Ba\u015fak Toplayan Kad\u0131nlar<\/strong>\u2019 \u0131 bile hesaplanm\u0131\u015f izlenimi vermektedir. Bir ressam\u0131n kendini aylak gibi ceketsiz betimlemesi , sayg\u0131 de\u011fer ressamlara ve onlar\u0131n tayfas\u0131na hakaret etmek gibi bir \u015feydi. Herhalde Courbet\u2019in uyand\u0131rmak istedi\u011fi izlenim de buydu. Tablolar\u0131n\u0131n ; zaman\u0131n\u0131n ge\u00e7erli al\u0131\u015fkanl\u0131klar\u0131na kar\u015f\u0131 bir protesto olmas\u0131n\u0131, kendini be\u011fenmi\u015f \u2018kentsoylular\u0131 sarsmas\u0131n\u0131\u2019 geleneksel kal\u0131plar\u0131n ustaca kullan\u0131m\u0131na kar\u015f\u0131 sanatsal kendili\u011findenli\u011fin ve uzla\u015fmazl\u0131\u011f\u0131n de\u011ferini hayk\u0131rmas\u0131n\u0131 istiyordu.<\/span><\/p>\n

Daumier<\/span><\/strong><\/h4>\n
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Hem grav\u00fcrc\u00fc hem ressam olan bu sanat\u00e7\u0131, ifade g\u00fcc\u00fc e\u015fsiz bir karikat\u00fcrc\u00fc idi. Elde etti\u011fi netice bak\u0131m\u0131ndan daima ba\u015far\u0131l\u0131 bir kolayl\u0131kla \u015fekillerle oynar. Karikat\u00fcrleri zaman\u0131n m\u00fcstebid h\u00fck\u00fcmetini sarsmakta, bir c\u0327ok nutuklardan ve makalelerden daha tesirli olmu\u015ftur.<\/span><\/p>\n

Realizm ve Heykel Sanat\u0131 ,Rodin\u00a0<\/span><\/h4>\n
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Zaman\u0131m\u0131za en \u00e7ok tesiri olan heykeltra\u015f Rodin<\/strong>\u2019dir. \u015eekli g\u00f6r\u00fclmedik bir c\u00fcr\u2019etle kullan\u0131rd\u0131. I\u0307<\/span>lk bak\u0131\u015fta mulaj\u2019\u0131n z\u0131dd\u0131 bir heykel cinsiyle u\u011fra\u015f\u0131yor-) san\u0131l\u0131r. \u0130fadeli modle\u2019ye her t\u00fcrl\u00fc do\u011frulu\u011fu ve zarafeti kurban eder g\u00f6r\u00fcn\u00fcyordu. Sanki insan madde ten, manen oldu\u011fu kadar peri\u015fan olabilirmi\u015f gibi, ihtiraslar\u0131 son hadlerine g\u00f6t\u00fcren ta\u015fk\u0131n \u015fekil bozukluklar\u0131 yapmaktan \u00e7ekinmiyordu. <\/span><\/p>\n

Rodin\u2019in fig\u00fcrleri \u0131zd\u0131rap ile yahut ihtirasla gayret veya \u00fcmitsizli\u011fe tamamiyle b\u00fcz\u00fclme veya gev\u015feme halindedir. O, heykele XIX. y\u00fcz y\u0131l\u0131n sonunda, Delacro\u0131x\u2019 n\u0131n resme soktu\u011fu realiteyi sanat\u00e7\u0131n\u0131n duygusuna ba\u011fl\u0131 k\u0131lan lirizm<\/strong>i getirdi. Lakin bu te\u015febb\u00fcs heykel de, resimdekinden daha fazla g\u00f6ze \u00e7arpar. Zira resim, temelinden itibar\u0131\u00a0bir sanatt\u0131r, bir\u00e7ok fantezilere yatar. Oysa ki realist bir sanat olan heykel, bize daima realitenin g\u00f6r\u00fcn\u00fc\u015flerine uymaya mecburmu\u015f duygusunu verir.<\/span><\/p>\n

Do\u011fru olmayan bir modle\u2019yi, yanl\u0131\u015f bir renkten daha zor kabul ederiz. Zaten heykeldeki lirizmin tehlikesi a\u00e7\u0131kt\u0131r. Bir sanat\u00e7\u0131 tabiat\u0131 istedi\u011fi gibi \u015fekillendirebilir; fakat deha sahibi olmak \u015fart\u0131yla.<\/span><\/p>\n

Realizm Ak\u0131m\u0131 \u00dcnl\u00fc Sanat\u00e7\u0131lar<\/h3>\n

Gustave Courbet, Ilya Repin, Jean-Francois Millet, Rosa Bonheur, Winslow Homer, Thomas Eakins, Andrew Wyeth<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Realizm Sanat Ak\u0131m\u0131 Realizm Sanat Ak\u0131m\u0131, romantiklerin; varl\u0131\u011f\u0131 ve hayat\u0131 ruhun kaderine ba\u011flayan lu\u0308zumundan fazla \u015fahsi sanat\u0131n\u0131n, bir tepki yapmas\u0131 do\u011fald\u0131. Elbette arkas\u0131ndan bir halk sanat\u0131 gelecekti. Nas\u0131l ki romantizm klasizme bir ba\u015fkald\u0131r\u0131 say\u0131labilir\u00a0ise ger\u00e7ek\u00e7ilik yani realizm ise, hem klasizme hem de romantizme bir ba\u015fkald\u0131r\u0131 say\u0131labilir. Romantizmin dramatik bi\u00e7imlere, kal\u0131plara kar\u015f\u0131 olan tutumu realizmin yolunu […]<\/p>\n","protected":false},"author":1,"featured_media":6479,"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-6263","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nRealizm Sanat Ak\u0131m\u0131 - Arthipo<\/title>\n<meta name=\"description\" content=\"Realizm Sanat Ak\u0131m\u0131 nedir tarz\u0131 \u00f6zellikleri \u00f6nemli eserleri \u00fcnl\u00fc ressamlar sanat\u00e7\u0131lar nas\u0131l anla\u015f\u0131l\u0131r realist artist tablolar\" \/>\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\/realizm-sanat-akimi.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Realizm Sanat Ak\u0131m\u0131 - 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