Abstract:

The theme of women’s painting has existed since the early ages. When we look at the Turkish painting art, the female image has shown development in the influence of European art in the painting. Military painters, who were trained in the Ottoman army's military schools and in Europe, were the first artists to use the image of "woman" in their paintings, though with a conservative approach. The woman, in addition to being an image in the painting, also appears as an executive, a female painter. The Tanzimat period has made it possible for women’s rights to be reformed and for women’s identity to be formed, though limited. Thus, women were able to get painting education in the Industrial Nefise Mektebi, so the picture also began to see European, educated, western-style women's images. When it comes to the period of the Republic, the city’s women’s image, created with the perception of equal conditions with men, and also the Anadolu women’s image, was visualized where modernization spread from the village to the city throughout the entire society.                 The aim of this study is to explore both the image represented by the woman, and which Balkan traces she carries. In this context, literature scan will be made from Ottoman to today. The findings obtained by analyzing the portraits of Romanian-born painter Eren Eyüboğlu will also be discussed.

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