Abstract:

Based on the word of Naci Kalmukoğlu translated by Avni Arbaş "in every painting the painting does not paint anything of itself" (Culture-art.1983) the social-psychological impact in the art production will be taken into account and the identity and sensitivity that the artist establishes with himself in the portrait of "Chinese woman". Naci Kalmukoğlu is an important place in the Turkish reminiscence despite the fact that he is an unfounded artist to the extent he deserves it. His wealthy and rooted family made it possible for the artist to have a view of life and a personal structure. In contrast, as the sources indicate, the artist’s life is covered by a wide specimen of ignorance (Eroğlu O., p. Research in this sense. It is believed that the artist’s emphasis on portrait painting, which is one of the clear art aspects, will be important in terms of understanding and illustration of the subjects of the portrait’s meaning layer and adding something from himself to the work that the artist often stands on. In the study, first of all, literature scan will be carried out, newspapers will try to reveal information, memories, interviews and the artist's art understanding and social-cultural structure. The artist's "Gingene Woman" painting will be resolved. In order to get a healthier result by comparing, the pictures of other Turkish artists who work in Chinese women's portraits during the period will be studied. As a result, the artist's gigantic female picture will be attempted to reveal sociopsychological effects.