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Neşe Erdok, 26 Ağustos 1940’ta İstanbul’da doğdu.1963’te Devlet Güzel Sanatlar Akademisini bitirdikten sonra 1965-1966 yılları arasında İspanya’da, 1967-1972 yılları arasında ise Fransa’da resim çalışmalarını sürdürdü. Yurda döndükten sonra Mimar Sinan Üniversitesi Güzel Sanatlar Fakültesi, Neşet Günal Atölyesinde asistan olarak çalışmaya başladı. Sanatçı, 1960’lardan itibaren figür anlatımına çağdaş bir yorum getiren ressamlar kuşağının bir üyesidir.
Gerçekçi figür anlatımına dayalı resimleriyle tanınan Erdok, eserlerinde günlük yaşamda karşımıza çıkan yaşamın her kesiminden insanları konu olarak almıştır. Bu konular berberde, vapurda, sokakta karşılaştığı insanlardır. Figür anlatımlarında deformasyona önem veren sanatçı genellikle bu deformasyonu yüz el ve ayaklarda kullanmıştır. Sanatçı resimlerinde desene önem vermiş, rengi ikinci planda tutmuştur. Çalışmalarında konunun etkisini arttırmak için büyük boyutta tuvaller kullanmıştır. Figür düzenlemelerinde yalın bir mekân kullanarak nesnel bir bakış açısıyla kişilerin iç dünyalarını ortaya çıkaran bir anlatıma yönelmiştir. Deforme ettiği figürleri kendine özgü bir biçim ve anlatımla resmetmiştir. Sanatçı resimlerinde figürleri tuval boyutunda, sakin bir iç mekân içinde, yaşamda donmuş bir anın aktörleri gibi canlandırmıştır. Figürlerin duruşlarından içinde bulundukları yaşantının izleri kolaylıkla izleyici tarafından gözlemlenebilmektedir. Eserlerindeki, güçlü kompozisyon kurgusu ve sağlam desen aktarımı resimlerinin daha kolay anlaşılmasını sağlamıştır. Sanatçı resimlerinde kendi otoportresini sıkça kullanmıştır. Bu otoportreler de özel hayatından kesitler sunmuştur.
Bu çalışmanın amacı; Neşe Erdok’un resimlerinin biçimsel özelliklerini irdelemek ve sanatçının Türk resim sanatı içinde yeri ve önemini ortaya koymaktır. Araştırmada ‘’1960 Kuşağı ‘’olarak bilinen ve figür yorumunda çağdaş bir anlayış ortaya koyan yeni resim kuşağının içinde yer alan Neşe Erdok’un resimleri yıllara göre işlediği konular çerçevesinde yorumlanmaya çalışılmıştır. Bu araştırmada, sanatçının resimleri, biçim, konu ve içerik açısından ele alınmıştır. Resimlerin çözümlenmesinde sanat tarihçi Erwin Panofsky’nin ikonoloji yöntemi model olarak alınmıştır.
Neşe Erdok was born in Istanbul on August 26, 1940.In 1963, after graduating from the State Academy of Fine Arts, he continued his painting studies in Spain between 1965 and 1966, and in France between 1967 and 1972. After returning to home, the Faculty of Fine Arts of the Architectural University of Sinan began to work as an assistant at the Pleasure Day Workshop. The artist is a member of a generation of painters who have brought a contemporary comment on the figure narrative since the 1960s.
Erdok, known for his paintings based on the realist figure narrative, has taken people from every part of life that is faced with us in his works as a subject. These topics are the people they encounter in the bar, in the boat, in the street. The artist who focuses on deformation in his narratives often used this deformation on the face of his hands and feet. The artist took attention to the design in his paintings, keeping the color in the second plan. In his studies, he used large scales to increase the impact of the subject. In the Figure arrangements, using a simple space, he turned to a narrative that reveals the inner worlds of people with an objective perspective. The figures he deformed in his own form and narrative. In his paintings, the artist has represented his figures in a tabular size, in a quiet interior, like the actors of a frozen moment in life. The traces of life in the positions of the figures can be easily observed by the audience. In their works, the strong composition philosophy and solid pattern transmission made the images easier to understand. The artist has often used his own autoportresses in his paintings. These autoportresses also presented cuts from their private life.
The purpose of this work is to identify the formal characteristics of the paintings of Neşe Erdok and to show the place and importance of the artist in the Turkish painting art. In the study, the paintings of Neşe Erdok, which are known as the "1960 Generation" and present a contemporary understanding in the figure interpretation, have been attempted to be interpreted in the framework of the subjects he has worked for years. In this study, the artist’s paintings, shapes, subjects and content were addressed. In the analysis of the paintings, the iconological method of the art historian Erwin Panofsky was taken as a model.
Neşe Erdok was born on 26 August 1940 in Istanbul. After completing National Academy of Fine Arts in 1963, Erdok continued her studies in Spain between 1965-1966, and in France between 1967-1972. She started to work as an assistant in the Neşet Günal Workshop of Mimar Sinan University Faculty of Fine Arts upon her return to Turkey. Erdok is a member of the generation of artists who brought a contemporary approach to figurative expression from the 1960s onwards.
Known for her paintings based on realistic figures, Erdok depicted people from all walks of life that include people she came across in a barber shop, on a ferry, or in the street. Deformation, particularly of the face, hands, and feet, plays a prominent role in Erdok’s works. Patterns take precedence over colour in her paintings. Erdok made use of larger canvases in order to highlight the theme. Her use of plain spaces created a style of expression that brought her subjects’ inner worlds to the foreground. She depicted her deformed figures in her unique style and way of expression. The artist revived the figures in a canvas size like the actors of a frozen moment in life in a calm interior. Traces of the figures’ experiences can be easily observed from their postures by audiences.The strong composition and strong pattern transfer in her Works made her paintings easier to understand. The artist used her self-portrait frequently in her paintings where she exhibited some sequences of her private life.
This study aims to examine the stylistic properties of Neşe Erdok’s paintings and emphasize her place and importance in Turkish art of painting. In the research, Nese Erdok’s paintings, which take part in the new art generation known as ‘the 1960s generation’ and put forth a contemporary perceptive on the figure interpretation, has been tried to interpret within the scope of the themes that she has discussed by years. In this research, the artist’s paintings have been approached with regard to form, theme and content. The art historian Erwin Panofsky’s iconology method has been channelled into the paintings’ interpretation.
Journal Type : Uluslararası
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