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Art Nouveau style, which became famous towards the end of the 19th century aimed to unite arts and crafts and promote hand production. This style with its totally original stylization is common in many fields like architecture, furniture, jewelry, graphic arts. With this trend, the poster has begun to be accepted as an artwork, and as Mucha's stunning poster designs show up in the streets (as they emerge), Mucha has begun a period in which his reputation will last for centuries. In this study; the relationship between the typographic and visual elements of Mucha's poster designs is examined in terms of basic design principles. In addition, Art Nouveau current, typography and basic design principles are evaluated in detail. In between many posters of the artist the ones are chosen designed for the theatres Sarah Bernhard take role, and analyzed according to the basic design principles and typography. In this research, which analyzed the harmony between typographic and visual elements according to basic design principles descriptive method used. It is found out that maximum harmony between the typographic and visual elements there is on Mucha’s posters according to principles of design and form reflects the content.
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In urban areas, physical and social texture damage, which is the result of economic and social factors, can be eliminated by revitalization. Transformation of the space in the axis of culture and art can enable the corrupted areas to participate in life and original practices leading to the living conditions of the inhabitants of the environment can emerge on the initiative of the civil initiatives. Revitalization projects formed by participatory processes that art creates attractive power strengthen not only physical space but also social, economic and environmental conditions by strengthening social relations and sense of belonging. These practices include the revitalization of abandoned industrial structures by cultural arts function, as well as the large recreation areas and parks where art works take place, in the rehabilitation of industrial areas. In the revitalization projects, through the intervention of artists entirely transformation of the space brings together the social texture of the city and the new language of art.
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National identity is one of the most frequently discussed topics in social and political as well as artistic and cultural sense. In the first years of the republican period culture and arts policy of government was based on providing a contemporary and national identity to Turkish art, performing national arts thoughts with art education programs and improving the public through art. Moving from this understanding the national consciousness was tried to be strengthened with activation of State Painting and Sculpture Museum, establishment of Gazi Educational Institute, Village Institutes and Public Houses and homeland traves. With the Yeniler Group, which emerged in the 1940s when identity discussions were intense, a new perspective was brought on nationality and Anatolian steppe and Anatolian were painted in socialist realistic style. Then with the Onlar group, which created by the students of Bedri Rahmi Eyüboğlu, national and universal understanding of art based on traditional handicrafts were adopted. It is possible to say that Bedri Rahmi Eyüboğlu is one of the key names in the national identity in the history of contemporary Turkish painting, which reinterprets Anatolian motifs of handicrafts with western painting technique. In this study, it is aimed to reveal the historical process for the search for national identity intensifying with the foundation of the Republic and the contribution of Bedri Rahmi Eyuboglu to this process.
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One of the most important problems in art history search existed from past is cultural identification. This particular source which determines by basing on a lot of data, for undefined portable art works are the most troubled situation, and usually, it is tried to resolve in terms of similarity with works which had specific source. Nevertheless, another topic involving a large number of questions is traditional cultural content and the forms of this content. At which stage of its development does a human community existing throughout history commence constitute an accumulation of national culture and form a specific descriptive language belonging to that culture? Meanwhile, how do description standards defined as iconography occur? Does culture preserve its existence as long as it lives; otherwise, does it vary in time? If it varies in time, what does this transformation depend on? Non-existent today, but can motive and subjects of a civilization which comes its own artworks our today be resolved while depend on any case? Can meaning loaded on its symbol be determined while depended on facts and figures? In this article, while these problems are aimed at examining in the context of Turkish art, the data and findings involved in “Introduction to the History of Religions” by religion historian Mircea Eliade and “The language of Turkish Miniature Art” by art historian and architect Siyavus Dadaş, and it is tried to arrive at some conclusion by making some additions to them.
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The issue is discussed over "Art ..." titled a painting installation project application and exhibition in graduate art education, as a method examination of how is art and whether to the definition of today's art as one of the conditions of human existence within the framework of the main themes known contemporary art philosophy . With the union of opposites- holistic approach in study, intellectual analysis associate with the issue are made over the practices by New –Wittgensteinism ; views art as an open concept and the basic elements of Wittgenstein philosophy; against the definition of art, as a stance against all identification(institutional, historical, traditional). The purpose of the research is to investigate over the case of "Art ..." titled an art project application in the postgraduate art education area carried out in 2016, Wittgenstein's philosophy, also known as the grammar of silence and its philosophy of bringing to the fore again some basic elements of Neo - Wittgensteinism light is still under investigation, cannot be done whether a holistic definition of art. As a result, those who today live in thought and practice, as well as definitional at this point, the question cannot be made in the definition of art, one of the conditions of human existence, is no longer necessary and obligatory question. Current artistic discussions, always be open-minded to criticism against expanding the definition of art and the latest situation with a holistic perspective to better evaluate the need has been demonstrated in the art project application.
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The period of Seljuks in Anatolia Turkish Art of tile and ceramics has developed especially in XIII and XIX centuries, and has been appreciated with various styles, colors and motifs. It is essential that these works, which are the successful and nice samples of their periods and made with different techniques, should be saved; this cultural heritage should be inherited to the foregoing generations to have the conscious of this inheritance; and today and tomorrow’s union should be ensured by the union of characteristic form and the formal style with the styles of modern art. Like the construction of which base is strong can stand the difficulties of different periods, the information of the past in art will be our base to stand. When we unite our strong bases with the contemporary art flows, we will have conscious of art which is not only extraordinary but also modern which holds the variety of identities and is ours. Thus, the subject of research has much importance. It is aimed in this research that the point which tile of Seljuks has come in the aspect of technique, style and decoration from the period of Seljuks today in the faculties of ceramics in our country should be sowed. And it is again aimed that cultural heritance should be saved in the departments which tile ceramics are used, and the form of apply is searched.
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In this study the difference between representational and abstract paintings in judgments on perceptual, semantic and affective dimensions was investigated. Two groups of participants judged the sets of representational and abstract paintings on three groups of dimensions: perceptual (Form, Color, Space and Complexity), semantic (Illusion-Construction of Reality, Expression, Ideology and Decoration), and affective (Hedonic Tone, Arousal, Relaxation and Regularity). The results have shown that representational paintings have higher judgments on the perceptual dimensions of Form and Complexity, the semantic dimension of the Illusion of Reality (the opposite pole of the Construction of Reality), and the affective dimension of Regularity. On the other hand, abstract paintings have higher judgments on the perceptual dimension of Color, the semantic dimensions of Construction of Reality (the opposite pole of the Illusion of Reality) and Expression, and the affective dimension Arousal. A discriminant analysis indicated that all three sets of dimensions are relatively good predictors of the classification of representational and abstract paintings (61–100%). The results suggest that the subjective categorization of paintings is generally based on the recognizability of pictorial content (representational vs. abstract), but some formal or stylistic properties play a role in the categorization, as well: some expressionistic representational paintings were classified in an abstract category, and some geometrically abstract paintings were classified as representational.
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Turkish folk costumes also vary with adornment and brode technique alongside fabric, pattern, mold, assembly, and laminating. Turkish folk costumes which comprise of a lot of different piece with plenty of fabric and ornament features consist of jewelries and ornaments, which wear to head, body and foot. Clothes, used in traditional life, shaped and changed with people’s lifestyle and philosophy, traditions with social and geographical feature of region. When the design elements and ornament features were also on the agenda, alongside the functional features of clothes, these clothes used as a communication tool. While Turkish people creating their clothes, they generally gave importance to ornament features than pattern features. As in other branches in traditional arts, ornaments in folk clothes generally were shaped in accordance with emotions, such as; sexuality, fertility, evil eye, hope, longing, fear, love, and beliefs. Therefore, ornaments increase cultural value of clothes. The layering feature of clothing, which is consisted of simple cut costumes that dressed two or four times in a row, is also constituted the ornament forms of the clothes. In Turkish folk clothing and dressing, besides artistic and esthetics values, ornaments have an important role for meanings and the messages. In this work, which is analyzed with typological approach, the real examples of Turkish folk clothes, extended from 19th century to today, was classified into six groups by examining photographs, the features of ornaments and application techniques. This typological classification was explained by giving examples.
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The art of caricature with the sense of humor peculiar to Eastern Black Sea culture is not recent; however, it still reflects the cultural components of the region. When interpreting caricatures as signs, they can be used as data source relevant to social structure. This article is a semiotic analysis on Hamsi magazine, published at the beginning of 1990s. Within the frame of gender-based division of labor, being a woman and man in Eastern Black Sea, where discrimination is internalized with the cultural structure, is interpreted with the side meanings of systems reflected in caricatures in Hamsi Magazine. Besides the representation of the gender in the Magazine, social transformation causing the reflection of the immigration between Trabzon and Sarp Border Crossing in those years in the line is interpreted via caricatures related to the foreign women representation. Thus, the objective of this study is to explain the gender signs represented by the discursive system about the typification and labeling in Eastern Black Sea gender culture. Being a woman, man and foreign woman in the gender-envisioned with the witness of time and space- is analyzed with Ronald Barthes’s semiotic approach indicating that the signification presents itself with certain functions and is being constructed via signs.
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“Ut pictura poesis?” Everything seems to have already been said in this famous formula of Horace. But who would think the relations between poetry and painting, to consider from the point of view of a rivalry or in the perspective of a mere imitation? To think of the relationship in terms of substitution or adequacy would be blindly look at what is being played through various connections that take place on the horizon of these two arts. Painting is even more constantly a powerful creative aliment for writers. Victor Hugo describing in Les Miserables, the battle of Waterloo composed as a painter, with the means of language. So many texts come from an image that we want to describe, where the writer tries to give an equivalent of the painting by the means of the language. One then finds oneself in an uncertain margin where literary creation is at the same time a subject of writing, an object of reflection and a starting point for an unusual use of language. To give an account of the mute speech of painters, a great challenge, is most often only within the reach of poets, who explore language in the confines of silence. How, in the face of a canvas, will not a writer be seized by a quasi-immediate relation to the color actually received, lived, filtered by the system of language? How will poetic space allow the reader to become a spectator of the page?
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This article is inspired by the idea of a transnational art world focused on migrants and the visual arts and it delivers a preliminary theoretical discussion. The article discusses the notion of ‘transcultural capital’ as a perspective within the study of contemporary migrations of artist. It also looks at the concept of ‘cultural scenes’ as places of significant cultural and artistic activities and amenities. Linked to these are ‘transnational artistic practices’ and the production of translocal geographies drawn by an overlap of the migratory destinations of artists and networks of places of creation, production and artistic dissemination which enhance different art markets. This article discusses the ways in which these different theories can contribute to our understanding of the mobility of cultural professionals and, in particular, of the emigration of Portuguese visual artists.
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