Osman Hamdi Bey
Osman Hamdi Bey (1842 1910)
Osman Hamdi's personality has gained value in a whole combined with science, art and tireless working power. A temperament in which the love of art and the excitement of success take place prominently, has manifested itself as a self-confident, civilized person who expresses his thoughts without hesitation and strongly defends what he believes in all his behaviors. In the difficult conditions of the sultanate period, he endured all the difficulties and successfully carried out the important assignments he had undertaken.
Osman Hamdi, who was born in Istanbul in 1842, later II. He is the eldest son of Ethem Pasha, the Grand Vizier of the reign of Abdulhamid. He studied at the Mektebi-Maarif-i Adliye in the city where he was born, when he was only sixteen (1858), he went to Serbia with an assignment and then to Vienna with his father, where he was interested in museums and painting exhibitions. These trip impressions provided very useful results in his life in science and art.
Artistic Self-improvement of Osman Hamdi Bey
Osman Hamdi, who entered the first period in which we came into contact with Western art, achieved very fruitful works by working in wider areas among his contemporaries. Archeology knowledge was no less than painting. His meticulousness in painting and his artistry, which was valued with a masterful process by examining matter with all its features, helped in his archaeological studies. Like his contemporary artists, Osman Hamdi took an art formation that is highly associated with a traditional art culture. He produced works with an objective understanding that aims to transform the visible into a picture. Despite his realist and academic character, his works contain values that cannot be underestimated. At the forefront of these values is his deep commitment to art, which comes from his love and respect. Nature and self-indulgence are described with a cool heart and nobility without falling into vulgarity. A kind of technique, which has become a tradition and used by everyone, gained value in his brush and took a different meaning with a unique style that raises his feelings and aspirations to a meaningful situation. In the evaluation of form and color in his works, he gave importance not to disintegrate the whole with all the details, without spoiling the structure and properties of the goods and without adding anything to them. Light and shadow were used to provide the form. The color, on the other hand, depends on the color of the item itself.
Osman Hamdi Bey's Paintings, All His Works, Paintings
Painting and Sculpture Museum: Exit from the Mosque: Rüstem Pasha Mosque, Inside the Şehzade Mosque tomb, Talking Hodjas, Childhood portrait of Ethem Bey (Hamdi Bey's son), Patterns (1896, made when he was in Baghdad), Portrait of his mother-in-law, His wife Naile Portrait of Hanım, An Italian Girl, Etude, Fisherman İsmail Ağa (Etude). Portrait of Tevfik Bey (Hamdi Bey's nephew). In Museums Abroad: Carpet Seller (Berlin Museum), Abihayat Fountain (London Museum), Arms Dealer (London Museum), Women on the Walk, (Boston Museum), Reading Man, (Liverpol Museum). Special Collections: Haldun Simavi from the Harem, the bath part Union Française: Reading Celalettin Pasha: Women in front of the Blue Mosque gate Pera Museum: Tortoise Trainer, Two Musician Women, Pink Riding Hood, Shepherd Mustafa Pasha Mosque, Kokenoglu Riza Efendi Portrait İhsan İpekçi: Comfort Architect Refik Gökhan: The seller, the women in front of the tomb gate Ethem Eldem: The portrait of O. Hamdi's Daughter Leylâ Hanım, Baghdad, Tigris shore (Watercolor), Eskihisar (Poşat) Cenan Sarç: Nazlı Hanım's portrait. (Hamdi Bey's daughter), Naile Hanım's portrait (Hamdi Bey's wife), Eskihisar, (Landscape), Nimet Hanım's portrait, Despina's portrait İsmet Karadoğan: Tevfika Hanım's portrait (Hamdi Bey's niece) , Tevfika Hanım's childhood portrait Private Collection of the Austrian Emperor: Religious Man.
