{"id":6343,"date":"2016-11-03T00:42:02","date_gmt":"2016-11-02T21:42:02","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=6343"},"modified":"2017-06-07T02:23:54","modified_gmt":"2017-06-06T23:23:54","slug":"barok-resim-sanati","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/barok-resim-sanati.html","title":{"rendered":"Barok Resim Sanat\u0131"},"content":{"rendered":"

Barok Resim Sanat\u0131<\/span><\/h2>\n

Barok resim sanat\u0131 do\u011fdu\u011fu yer de \u0130talya’d\u0131r. 1600 y\u0131llar\u0131nda bu \u00fclkedeki \u00fcnl\u00fc Barok ressam Michelange Lo Caravaggio’dur. Bu \u00f6nc\u00fc, maniyerist anlat\u0131m\u0131 \u0131\u015f\u0131k-g\u00f6l- geye dayanan optik g\u00f6r\u00fcnt\u00fc resmi ile yenmi\u015f ve o s\u0131ralar at\u00f6l\u00adyelerde yap\u0131lan antik heykellerden resim yapma gelene\u011fini terk etmi\u015ftir.\u00a0Barok resim,<\/em> Kirli t\u0131rnakl\u0131 papazlar, \u0131\u015f\u0131k-g\u00f6lgeli y\u00fczleriyle \u00e2deta canl\u0131 gibi duran ba\u015flara sahiptir. Caravaggio’nun do\u011fa kar\u015f\u0131s\u0131n\u00adda yapt\u0131\u011f\u0131 g\u00f6zlemlere dayanan bu resmi, o zamana de\u011fin g\u00f6r\u00fclm\u00fc\u015f bir resim bi\u00e7imlemesi de\u011fildi. Onun insanlar\u0131, resim de\u011fil, \u00e2deta canl\u0131 idiler. \u0130\u015fte bu anlay\u0131\u015f k\u0131sa s\u00fcrede t\u00fcm Avrupa’n\u0131n be\u00adnimseyece\u011fi bir resim \u00fcslubunu olu\u015fturacakt\u0131.<\/span><\/p>\n

Barok d\u00f6nemdeki resim \u00e7al\u0131\u015fmalar\u0131 \u00e7ok y\u00f6nl\u00fcl\u00fck g\u00f6sterdi, \u00f6rne\u011fin Barok \u0130talyan ressamlar\u0131 aras\u0131nda say\u0131lan Annibale Carraci, daha \u00e7ok bir klasisizmaya y\u00f6nelik \u00e7al\u0131\u015fmalar yap\u0131yordu, \u00f6yle ki, Bologna’da kurdu\u011fu Akademi’de, \u00f6\u011frencilerine Olgun-R\u00f6nesans’\u0131n ressamla\u00adr\u0131nda g\u00f6r\u00fclen resim anlay\u0131\u015f\u0131na d\u00f6nmeyi \u00f6neriyordu. Farnese Saray\u0131’ndaki ne\u015feli, renkli, mitolojik konulu freskolar\u0131, barok kiliselerin, evlerin ve saraylar\u0131n duvarlar\u0131 i\u00e7in \u00f6nemli bir resim \u00f6rne\u011fi oldular. Bu resimlerin barok \u00fcsluplu say\u0131lmalar\u0131n\u0131n nede\u00adni, aynen Lorenzo Bernini’de g\u00f6r\u00fclen u\u00e7ar gibi fig\u00fcr hareketleri\u00adne sahip olu\u015fu idi ve bu hareketler, o s\u0131ralar art\u0131k sevilme\u011fe ba\u015fl\u0131yordu. Daha \u00f6nce Giorgione’de sezinlenen ideal manzaran\u0131nesas yarat\u0131c\u0131s\u0131 gene Carraci oldu. Bu ideal manzara, be\u011fenilen bir do\u011fa g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn saptanmas\u0131na dayanm\u0131yor. Aksine, bu resim, antik harabeler, tepeler ve \u00e7ok yaprakl\u0131 a\u011fa\u00e7lar\u0131n ve bu\u011fulu \u0131\u015f\u0131k\u00adl\u0131 bir atmosferin yer ald\u0131\u011f\u0131 idealize edilmi\u015f bir manzara ile ilgili\u00addir. Ayr\u0131ca bu ideal manzara resmi kompozisyonu da titiz bir \u015fe\u00admay\u0131 yans\u0131tmaktad\u0131r. Bu manzara, Nymphe’lerin ve \u00e7obanlar\u0131n ya\u015fad\u0131\u011f\u0131 bir cennettir.<\/span><\/p>\n

\"barok<\/a>

Nicolas Poussin, Panlar\u0131n \u00d6n\u00fcnde Dans, National Gallery, Londra<\/p><\/div>\n

 <\/p>\n

Barok Resimde \u0130deal Manzara Anlay\u0131\u015f\u0131 ve Mitoloji<\/span><\/h3>\n

Carraci’nin bu ideal manzara anlay\u0131\u015f\u0131na, Roma’da ya\u015fayan Frans\u0131z ressam\u0131 N\u0130colas Polissin de \u0131s\u0131nd\u0131 ve buna antik mitolojinin ki\u015filerini ve heroik sahnelerini de sokmay\u0131 denedi. Bir di\u011fer Frans\u0131z ressam\u0131 olan Poussin’in \u00e7a\u011fda\u015f\u0131 ve arkada\u015f\u0131 Claude Lorrain de, bu ideal antik manzaray\u0131 benimsedi. Ancak buna, Romal\u0131 bir ressam gibi, Roma’n\u0131n antik atmosferi\u00adni, antik saraylar\u0131n\u0131, bir huzur d\u00fcnyas\u0131 olarak ekledi. Lorrain’in ideal manzaras\u0131nda, antik saraylar\u0131n \u0131ss\u0131z harabelerinde dola\u015fan Eski Roma’dan kalm\u0131\u015f ihtiyarlar ile mitolojinin ki\u015fileri de yer al\u0131r. Bu ki\u015filer, batan ak\u015fam g\u00fcne\u015finin dolayl\u0131 olarak ayd\u0131nlatt\u0131\u00ad\u011f\u0131 b\u00fcy\u00fck bir g\u00f6k par\u00e7as\u0131 ve dev a\u011fa\u00e7lar\u0131n g\u00f6lgeleri alt\u0131nda, an\u0131t\u00adsal duru\u015flar i\u00e7inde dola\u015f\u0131rlar. Sanat\u00e7\u0131n\u0131n yaratt\u0131\u011f\u0131 bu huzur dolu manzara resimleri, hemen t\u00fcm Avrupa’da sevilmi\u015f ve bu t\u00fcr i\u00e7in bir manzara sevgisi yaratm\u0131\u015ft\u0131r.<\/span><\/p>\n

Bu manzara anlay\u0131\u015f\u0131na g\u00f6re, Hollanda barok ressamlar\u0131n\u0131nkiler farkl\u0131d\u0131r. Bu \u00fclkenin bu d\u00f6nem ressamlar\u0131ndan Herkules Segers, Jan Van Goyen, Salamon Ve Jacop Van Ruisdael \u0130le Meindert Hobbema, manzaralar\u0131nda yaln\u0131z kendi \u00fclkelerinin g\u00f6r\u00fcnt\u00fclerini saptad\u0131lar ve bi\u00e7imlemede de bir idealizme \u00f6nem vermediler. O kadar ki, onlar\u0131n resimlerinin nerede yap\u0131ld\u0131klar\u0131, hatta hangi noktada oturulup yap\u0131ld\u0131klar\u0131 bile anla\u015f\u0131labilmededir. Ayr\u0131ca bunlar o s\u0131ralar Amsterdam’da ya\u015fayan Spinoza’n\u0131n panteist d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fc de yans\u0131tmaktad\u0131r\u00adlar. B\u00fcy\u00fck bir g\u00f6k b\u00f6l\u00fcm\u00fcn\u00fcn, resmin b\u00fcy\u00fck k\u0131sm\u0131n\u0131 kaplad\u0131\u011f\u0131 bu kompozisyonlarda a\u011f\u0131r bulutlar\u0131n dramatik g\u00f6r\u00fcnt\u00fcs\u00fc ile de\u00adrinli\u011fine uzay\u0131p giden iki taraf\u0131 a\u011fa\u00e7l\u0131 yollar yer almaktad\u0131r. Ancak bu manzaralarda insana pek yer verilmemektedir. Barok resim<\/em><\/span><\/p>\n

\"barok<\/a>

Dieogo Velasquez, Breda’n\u0131n Teslimi, Prado, Madrid<\/p><\/div>\n

\u0130spanyol Barok Ressamlar<\/span><\/h3>\n

\u0130spanyol Kral\u0131 IV. Filip’in saray ressam\u0131 olan Diego De ve Lasouez’e gelinceye de\u011fin bu \u00fclkede resim yaln\u0131z dine hizmet etmi\u015fti. Velasquez’in ustas\u0131 Francesco Pacheco i\u00e7in de resim, insanlar\u0131 dine \u0131s\u0131nd\u0131rmak i\u00e7in bir ara\u00e7t\u0131. Bu nedenle, H\u0131ristiyan dini i\u00e7in kendini adam\u0131\u015f bir \u00e7e\u015fit \u015fehit evliyalar, Ribera ve Zurbaran gibi ke\u015fi\u015f ressamlar\u0131n konular\u0131 oldu. Mur\u0131llo.ise, k\u0131r\u0131n h\u00fcr atmosferinde \u00e7imenlere yatan, sefil ha\u00adrabelerde bitlerini ay\u0131klayan k\u00fc\u00e7\u00fck \u00e7ocuklar\u0131n, fakat ayr\u0131ca son derece sevimli Madonna’lar\u0131n ressam\u0131 oldu.<\/span><\/p>\n

Velasquez ise, Ispanyol saray\u0131n\u0131n ressam\u0131 olmas\u0131na kar\u015f\u0131n, kral\u0131, prensesleri, saray sosyetesinin ki\u015filerini, onlar\u0131n \u00e7evresini saran hizmetk\u00e2r ve maskara c\u00fcceleri, saray\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc dikkate almadan hep ger\u00e7ek\u00e7i, do\u011fac\u0131 bir bi\u00e7imleme ile resmetti. Ayr\u0131ca, do\u011fa kar\u015f\u0131s\u0131nda yap\u0131lm\u0131\u015f ilk manzaray\u0131, f\u0131r\u0131nc\u0131lar\u0131, \u015farap i\u00e7enleri, tenlerinin terlemi\u015f g\u00f6r\u00fcnt\u00fclerine de\u011fin hep modellerine bakarak resmetti. Aynalar yoluyla, resmetti\u011fi mek\u00e2nda yer al\u00admam\u0131\u015f olan ki\u015fileri de, kompozisyonuna sokmay\u0131 ba\u015fard\u0131. “Aynada Ven\u00fcs” adl\u0131 \u00fcnl\u00fc \u00e7\u0131plak kad\u0131n\u0131nda d\u00fcnyevi fizik g\u00fczelli\u00ad\u011fi en g\u00fczel bir kompozisyonda yans\u0131tmay\u0131 da bildi. “Breda\u2019<\/sup>n\u0131n Teslimi” adl\u0131 yap\u0131t\u0131nda ise, bir sava\u015f sonras\u0131n\u0131n, hemen \u00a0sava\u015f alan\u0131ndaki bir teslim olma sahnesini, ger\u00e7ek bir vesika halinde resimledi. Bu kompozisyonda, ufka uzanan geni\u015f ovan\u0131n \u00fczerinde yer alan ordu durumu yan\u0131nda, \u00f6n planda her iki tara\u00adf\u0131n fig\u00fcrleri de, yenen ve yenilen olarak anlaml\u0131 bir bi\u00e7imde sap\u00adtanm\u0131\u015ft\u0131r. Bu tarihe de\u011fin b\u00f6yle bir yap\u0131t d\u00fcnya sanat tarihinde ele al\u0131nmam\u0131\u015ft\u0131r. Barok resim<\/em><\/span><\/p>\n

\"barok<\/a>

Meindert Hobbema, Milderharnis Yolu, National Gallery, Londra<\/p><\/div>\n

Hollanda Barok Resim Sanat\u0131<\/span><\/h3>\n

Hollanda da, bu barok sanat d\u00f6neminde en olgun yap\u0131tlar\u0131n\u0131 verdi. \u0130spanyol boyunduru\u011fundan kurtulur kurtulmaz bir burju\u00adva cumhuriyeti kuran bu \u00fclkenin resim yap\u0131tlar\u0131nda kral ve sa\u00adray\u0131 yer almam\u0131\u015ft\u0131r. Ressamlar\u0131n yap\u0131tlar\u0131na konu olan ki\u015filer, Hollanda toplumunun yaln\u0131z, t\u00fcccar, asker ve esnaftan olan ki\u015fi\u00adleridir. Franz Hals bu s\u0131radan ki\u015filerin, \u0130\u00e7inde ya\u015fad\u0131klar\u0131 ortam\u0131, yapt\u0131\u011f\u0131 grup resimlerinde-yans\u0131tm\u0131\u015ft\u0131r. Bu nedenle Hals, dikkatli bir portreci olarak, ki\u015filerin y\u00fczlerinde beliren psikolojik en k\u00fc\u00e7\u00fck bir yans\u0131may\u0131 bile, saniye i\u00e7inde saptayabilen \u00fcst\u00fcn bir h\u00fcner de g\u00f6stermi\u015ftir. Ani bir sevin\u00e7, bir utanma, candan bir yak\u0131nl\u0131k duygusu, an\u0131nda onun resminde saptay\u0131vermektedir. Bunun yan\u0131nda portrelerinde, o zamana de\u011fin g\u00f6r\u00fcl\u00admemi\u015f bir f\u0131r\u00e7a tu\u015fu esprisi de bilin\u00e7le ve sevip benimsenerek uygulanm\u0131\u015ft\u0131r.<\/span><\/p>\n

\u0130zlenimci Alman ressamlar\u0131ndan Max Liebermann’\u0131n, “Hals’in Resimlerini G\u00f6ren, Resim Yapmaya Heveslenir, fakat sonra Rembrandt’\u0131nkileri g\u00f6r\u00fcnce de bu i\u015fi b\u0131rak\u0131r” demesi, Hollanda topra\u011f\u0131n da b\u00fcy\u00fck bir deh\u00e2n\u0131n oldu\u011funu ortaya koyar. Ger\u00e7ekten Rembrandt, barok resim sanat\u0131 i\u00e7inde olup, onu \u00e7ok a\u015fan bir boyasal anlat\u0131ma sahiptir. Caravaggio’nun tek y\u00f6nden gelen \u0131\u015f\u0131\u011fa dayanan \u0131\u015f\u0131k-g\u00f6lge resmi, Hollanda ressamlar\u0131n\u0131 da etkile\u00admi\u015fti.<\/span><\/p>\n

Tek Y\u00f6nl\u00fc I\u015f\u0131k G\u00f6lge Resmi<\/span><\/h3>\n

Bu tek y\u00f6nl\u00fc \u0131\u015f\u0131k-g\u00f6lge resmi, Rembrandt’ta, Tiziano’da da de\u011finilen kat kat hamur boya ve saydam, suland\u0131r\u0131lm\u0131\u015f boya tekni\u011fi, yepyeni bir anlat\u0131ma ula\u015ft\u0131. Olgun-R\u00f6nesans’\u0131n ayn\u0131 renkten olu\u015fan a\u00e7\u0131k-koyu, \u0131\u015f\u0131k-g\u00f6lge anlat\u0131m\u0131, barokta, s\u0131cak so\u011fuk renk anlay\u0131\u015f\u0131na yakla\u015fan bir palet kazand\u0131. B\u00f6ylece, renk\u00e7i bir tu\u015f resmine de gidilme\u011fe ba\u015fland\u0131. Rembrandt’\u0131n \u00f6zellikle kendi portrelerinde daha da zengin bir bi\u00e7imde g\u00f6r\u00fclen bu an\u00adlat\u0131m, kan \u00e7ana\u011f\u0131na d\u00f6nm\u00fc\u015f \u00e7apakl\u0131 g\u00f6zlerde, boyan\u0131n \u00e2deta in\u00adsan eti olmu\u015f s\u00fcr\u00fcl\u00fc\u015f\u00fcnde, a\u00e7\u0131k olarak g\u00f6zlemlenir. Ayr\u0131ca o, boyay\u0131, g\u00f6r\u00fcnt\u00fcn\u00fcn \u00e7ok d\u0131\u015f\u0131nda kalan, boyasal bir olay i\u00e7in de kul\u00adlanm\u0131\u015ft\u0131r. B\u00f6ylece madde ile insan i\u00e7 psikolojisini, k\u0131sacas\u0131 ruh\u00adsal yans\u0131malar\u0131 da bu maddesel anlat\u0131ma katmas\u0131n\u0131 becerebilmi\u015f\u00adtir. Rembrandt, insanl\u0131k resim tarihinde m\u00fcstesna bir olayd\u0131r. Barok resim.<\/em><\/span><\/p>\n

XVII. y\u00fczy\u0131lda Hollanda’da g\u00f6r\u00fclen Janr resimleri de, bu \u00fcl\u00adkeye \u00f6zg\u00fc bir yeniliktir. Hollanda’n\u0131n \u00e2detlerine ve g\u00fcnl\u00fck ya\u015fa\u00adm\u0131na ili\u015fkin olarak yarat\u0131lan bu resimlerde, yerel giysilerin, tu\u00advaletlerin, k\u00fcrklerin, ziynet e\u015fyalar\u0131n\u0131n, hal\u0131lar\u0131n, ipekli kuma\u015f\u00adlar\u0131n, porselen ve cam e\u015fyalar\u0131n t\u00fcm g\u00fczelli\u011fi, p\u0131r\u0131lt\u0131s\u0131, elle tutu\u00adlacak kadar canl\u0131 bir diriliktedir. Jan Steen, b\u00fct\u00fcn’bu zengin\u00adli\u011fi, toplumsal bir komedi i\u00e7inde yans\u0131tan bir sanat\u00e7\u0131d\u0131r. Gabriel Metsus da ayn\u0131 zengin giysileri, bir di\u011fer meslekta\u015f\u0131 olan TERBORCH gibi kendine konu edinmi\u015ftir. Janr resmi ala\u00adn\u0131nda Delft’li ressam Jan Vermeer Ve Pieter De Hooch da Hollanda sanat\u0131na en g\u00fczel yap\u0131tlar vermi\u015flerdir. Jan Steen, Terborch, Jan Vermeer ve Pieter de Hooch, Hollanda ev i\u00e7leri\u00adnin b\u00fct\u00fcn \u00f6zelliklerini yans\u0131tan tablolar\u0131nda, ayn\u0131 zamanda Hol\u00adlanda ev kad\u0131n\u0131n\u0131n, ni\u015fanl\u0131lar\u0131n, mutfaktaki ya\u015fam\u0131n canl\u0131, ya\u015fa\u00adn\u0131lm\u0131\u015f atmosferlerini renkli bir bi\u00e7imde yans\u0131tmas\u0131n\u0131 bilmi\u015fler\u00addir.<\/span><\/p>\n

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

Barok Resim Sanat\u0131 Barok resim sanat\u0131 do\u011fdu\u011fu yer de \u0130talya’d\u0131r. 1600 y\u0131llar\u0131nda bu \u00fclkedeki \u00fcnl\u00fc Barok ressam Michelange Lo Caravaggio’dur. Bu \u00f6nc\u00fc, maniyerist anlat\u0131m\u0131 \u0131\u015f\u0131k-g\u00f6l- geye dayanan optik g\u00f6r\u00fcnt\u00fc resmi ile yenmi\u015f ve o s\u0131ralar at\u00f6l\u00adyelerde yap\u0131lan antik heykellerden resim yapma gelene\u011fini terk etmi\u015ftir.\u00a0Barok resim, Kirli t\u0131rnakl\u0131 papazlar, \u0131\u015f\u0131k-g\u00f6lgeli y\u00fczleriyle \u00e2deta canl\u0131 gibi duran ba\u015flara […]<\/p>\n","protected":false},"author":1,"featured_media":6388,"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-6343","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-tarihi"],"yoast_head":"\nBarok Resim Sanat\u0131 - Arthipo<\/title>\n<meta name=\"description\" content=\"Barok resim sanat\u0131 do\u011fdu\u011fu yer de \u0130talya'd\u0131r. 1600 y\u0131llar\u0131nda bu \u00fclkedeki \u00fcnl\u00fc Barok ressam Michelange Lo Caravaggio'dur. 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