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Kadın teması erken dönemlerden itibaren resim sanatının temel konularından birisidir. Türk resminde ise, önce minyatürlerde ilerleyen dönemlerde ise yağlıboya resimlerde yaygın bir tema olarak kullanılır. Türk resminde kadını figür olarak kullanan ilk sanatçı ise 19. yüzyılda Osman Hamdi Bey olur. 20. yüzyıla gelindiğinde siyasi yapının değişimi ile doğrudan etkilenen toplum yapısının en belirgin sonuçları arasında kadınların kamusal alana katılması ve görünürlük kazanması yer alır. Kadınların edindikleri yeni toplumsal konum, dönemin romanlarının ve resimlerinin temaları arasına girer. Kadın artık mesire yerlerinde, deniz kenarı ya da farklı eğlence mekânlarında görselleştirilir. Kadının modernlik simgesi olarak görülmesinin bir sonucu olan bu resimler, bir nevi modernleşme sahneleri haline gelir. İnas Sanayi Nefise Mektebi ile resim alanında eğitim alan kadınlar toplumda birey olarak var olmaya çalışarak sanatçı-kadın olmalarının mücadelesini verirler. Özellikle kadın hareketinin önemli isimleri Mihri Müşfik ve Müfide Kadri gibi kadınların varlığı ile nesne olmaktan çıkarak eylemi gerçekleştiren özne konumuna yükselirler. Buna rağmen kadınların kendini ifade etme olanaklarının kısıtlılığı, temsil ediliş biçimleri, erkekler ve kadınlar arasındaki sosyal, ekonomik ve toplumsal cinsiyet farklarının izlerini taşır. Bu çalışmada, Türk resim sanatında kadının yeri sorgulanırken aynı zamanda kadının resimlerde temsil edilişi ve kadın kimliğinin toplum tarafından nasıl kurgulandığı, II. Meşrutiyet dönemi sanatçılarının yapıtları üzerinden ele alınmıştır.
Women theme is one of the basic subjects of painting art since the early ages. In Turkish painting, women are used as a frequent theme, first in the miniatures and then in the oil paintings in the later periods. The first artist to use a woman as the figure in Turkish painting is Osman Hamdi Mr. in the 19th century. One of the most significant effects of the political changes of the 20th century on the social structure is the participation and visibility of women in the public sphere. The new social position acquired by women becomes one of the themes of the novels and the paintings of the period. Women are now visualized at the recreational spots, coast or various entertainment places. These paintings become some kind of a vision of modernization, as women appear to be the symbol of modernity. Women receiving art education in the 'Industrial Nefise Mektebi' would struggle as women artists, while they tried to exist in the society as individuals. Especially on the account of the significant names of the women’s movement, such as Mihri Müşfik and Müfide Kadri, they advanced from being an object to the status of the subject performing the action. Despite this fact, the limitations in women’s opportunities to express themselves and the forms of their representation bear the traces of the social, economic and social differences between men and women. At this study questions the place of women in Turkish Art, while examining the representation of women in the paintings and how female identity is speculated in the society, through the works of the 2nd Constitutional Period artists.
Women theme is one of the basic subjects of painting art since the early ages. In Turkish painting, women are used as a frequent theme, first in the miniatures and then in the oil paintings in the later periods. The first artist to use a woman as the figure in Turkish painting is Osman Hamdi Bey in the 19th century. One of the most significant effects of the political changes of the 20th century on the societal structure is the participation and the visibility of women in the public sphere. The new social position acquired by women becomes one of themes of the novels and the paintings of the period. Women are now visualised at the recreational spots, coast or various entertainment venues. These paintings become some kind of a vision of modernisation, as women appear to be the symbol of modernity. Women receiving art education in the ‘İnas Sanayi Nefise Mektebi’ would struggle as women artists, while they tried to exist in the society as individuals. Especially on the account of the significant names of the women’s movement, such as Mihri Müşfik and Müfide Kadri, they advanced from being an object to the status of the subject performing the action. In spite of this fact, the limitations in women’s opportunities to express themselves and the forms of their representation bear the traces of the social, economic and societal differences between men and women. At this study questions the place of women in Turkish Art, while examining the representation of women in the paintings and how female identity is speculated in the society, through the works of the 2nd Constitutional Period artists.
Field : Güzel Sanatlar; Mimarlık, Planlama ve Tasarım
Journal Type : Ulusal
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