{"id":6510,"date":"2016-11-13T22:02:06","date_gmt":"2016-11-13T20:02:06","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=6510"},"modified":"2017-06-07T03:00:03","modified_gmt":"2017-06-07T00:00:03","slug":"post-empresyonizm-sanat-akimi-yeni-izlenimcilik","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/sanat-tarihi\/post-empresyonizm-sanat-akimi-yeni-izlenimcilik.html","title":{"rendered":"Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik"},"content":{"rendered":"

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik<\/h3>\n

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, 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. (Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcili<\/span><\/em>k)<\/em><\/span><\/p>\n

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.<\/p>\n

\"Post<\/a>

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, Vicent van Gogh, Arles’te Yatak Odas\u0131<\/p><\/div>\n

Renge Renkle Kar\u015f\u0131l\u0131k Verme \u00c7abas\u0131<\/h3>\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. Sonunda da izlenimciler\u00adde ilk kez g\u00f6zlenen resmin y\u00fczeyselle\u015fmesi durumu art\u0131k kesin olarak bunlarda da belirme\u011fe ba\u015flad\u0131. \u00c7\u00fcnk\u00fc nesnelerin derinlikleri de\u011fil renklerin optik olarak kar\u0131\u015f\u0131mlar\u0131 burada s\u00f6z konusu oluyor ve bi\u00e7imlerin \u00fc\u00e7 boyutlulu\u011fu ister istemez ihmal ediliyordu Bu y\u00fczdendir ki, mekan anlay\u0131\u015f\u0131 \u00f6nemli bi\u00e7imde zay\u0131fl\u0131yordu. Ayr\u0131ca nesne bi\u00e7imleri geometrik y\u00fczeylere indirgendi\u011finden, resmi, do\u011fa kar\u015f\u0131s\u0131nda bitirme gereksinimi de ortadan kalk\u0131yordu. (Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik)<\/em><\/span><\/p>\n

G\u00f6r\u00fcl\u00fcyor ki, Yeni-izlenimcilik Avrupa resminde R\u00f6nesans tan bu yana s\u00fcregelen resim anlay\u0131\u015f\u0131n\u0131, yani nesne bi\u00e7imi ve on lar\u0131n do\u011fal renklerini ve perspektifi de b\u00fcy\u00fck oranda ortadan kald\u0131r\u0131yordu.<\/p>\n

\"Post<\/a>

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, Paul Gauguin, \u00dc\u00e7 Kul\u00fcbe<\/p><\/div>\n

\u0130zlenimciler i\u00e7in g\u00fcn \u0131\u015f\u0131\u011f\u0131 alt\u0131ndaki her \u015fey konu olabiliyordu, \u00f6rne\u011fin Paris’in ortas\u0131ndan ge\u00e7en Seine Nehri’nin \u00fczerindeki ka\u00ady\u0131klar, gazinolar ve caddelerdeki kalabal\u0131klar, dans edenler, pik\u00adnik yapanlar, balerinler, at yar\u0131\u015flar\u0131, deniz k\u0131y\u0131lar\u0131, bulutlu g\u00f6k\u00adler, f\u0131rt\u0131nal\u0131 denizler, tarlalar\u0131n ve k\u00f6ylerin k\u0131rsal d\u00fcnyas\u0131 gibi. Fakat esas de\u011fi\u015fmeyen konu, do\u011fada her an de\u011fi\u015fen \u0131\u015f\u0131k, daha do\u011frusu g\u00fcn\u0131\u015f\u0131\u011f\u0131 idi. Yeni-\u0130zlenimcilerde ise, renkli noktalardan olu\u015fturulmu\u015f do\u011fa g\u00f6r\u00fcn\u00fcmleri ya da nesnelerin geometrik bi\u00ad\u00e7imli y\u00fczeylere oturtulmas\u0131 ama\u00e7lan\u0131yordu. Bu birbirlerine ben\u00adzeyen, fakat sonu\u00e7lar\u0131 \u00e7ok farkl\u0131 olan iki ak\u0131m, asl\u0131nda birbirle\u00adrine temelden z\u0131t iki anlay\u0131\u015fa dayan\u0131yordu ve zaten Yeni-\u0130zlenimcilik \u0130zlenimcili\u011fe bir tepki olarak ortaya \u00e7\u0131k\u0131yordu. (Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik)<\/em><\/span><\/p>\n

Rengin Yeni \u0130\u015flevi<\/h4>\n

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, rengin resimdeki i\u015flevi de ortaya \u00e7\u0131kt\u0131. Yani renkle mekan resminden y\u00fczey resmine do\u011fru y\u00f6nlendi\u011fi anla\u015f\u0131ld\u0131. Bu durum ayd\u0131nl\u0131\u011fa kavu\u015fma\u011fa ba\u015flay\u0131nca, nesnenin ve mek\u00e2n\u0131n saptanmas\u0131 i\u00e7in yeniden nesne ve fig\u00fcr \u00e7evresine bir \u00e7izgi \u00e7ekil\u00admesi benimsenme\u011fe ba\u015fland\u0131. Yani nesne ve fig\u00fcr\u00fcn saptanma\u00ads\u0131nda renk kadar \u00e7izgi de \u00f6nem kazand\u0131. Bu uygulama da ilk kez Gauguin ile Toulouse-Lautrec[de g\u00f6r\u00fcld\u00fc. Toulouse-Lautrec, a\u011fabeyleri olan Monet, Degas ve Renoir gibi \u0130zlenimci res\u00adsamlar\u0131n, olabildi\u011fi oranda terk etmedikleri desene \u00f6zellikle \u00f6nem verdi. Toulouse-Lautrec de bu sanat\u00e7\u0131lar gibi desenci bir nitelik g\u00f6sterdi. Bu sanat\u00e7\u0131n\u0131n deseni, daima karakterize eden, serbest, s\u00fcratli ve daima modele dayanan bir ki\u015fili\u011fi de yans\u0131tt\u0131.<\/p>\n

\"Post<\/a>

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, Georges Seurat, Sirk<\/p><\/div>\n

B\u00f6ylece de Yeni-\u0130zlenimcilerdeki ak\u0131lc\u0131, geometrik, d\u00fczenleyici uyan\u0131kl\u0131ktan uzakta kald\u0131. Ayr\u0131ca, bu ressam resminde, renk ile deseni bir denge i\u00e7inde tutmay\u0131 da ama\u00e7lad\u0131. \u0130zlenimciler, res\u00adme, i\u00e7inde ya\u015fanan manzaray\u0131 getirdiler. Lautrec ise, birlik\u00adte ya\u015fad\u0131\u011f\u0131 insanlar\u0131 resmine konu olarak ald\u0131. Ayr\u0131ca o, \u0130zlenim\u00adciler gibi nesne ve fig\u00fcr \u00fczerindeki g\u00fcn \u0131\u015f\u0131\u011f\u0131n\u0131 saptamay\u0131 da ama\u00e7 edinmedi. O, nesnelerin \u00e7izgisel bi\u00e7imlemesini de i\u00e7eren bit renk\u00e7ili\u011fe \u00f6nem verdi ve her t\u00fcrl\u00fc kuramc\u0131l\u0131\u011f\u0131 resminden uzak tuttu. Bu nedenle onun, do\u011fasal konular\u0131 sevilen birer motif ha\u00adline getirmek istedi\u011fi de anla\u015f\u0131labilmededir. (Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik)<\/em><\/span><\/p>\n

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik \u00dcnl\u00fc Ressamlar, Sanat\u00e7\u0131lar<\/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

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

Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, 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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"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-6510","post","type-post","status-publish","format-standard","hentry","category-sanat-tarihi"],"yoast_head":"\nPost Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik - Arthipo<\/title>\n<meta name=\"description\" content=\"Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik, izleyen Georges Seurat ve Paul Signac'\u0131n ortaya att\u0131klar\u0131 Yeni \u0130zlenimcilik'te s\u0131cak-so\u011fuk renk sistemi...\" \/>\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\/post-empresyonizm-sanat-akimi-yeni-izlenimcilik.html\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Post Empresyonizm Sanat Ak\u0131m\u0131, Yeni \u0130zlenimcilik - 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