Valentin Aleksandrovich Serov (1865-1911)
The wonderful Russian artist Valentin Serov was lucky enough to be born into a prosperous and talented family. The painter's parents were talented and versatile people. Alexander Nikolaevich Serov, the father of the future artist, was a composer, the author of the operas Enemy Force, Judith and Rogneda. He was considered the best music critic of his time and was also a great original artist. In his youth, he was going to dedicate himself to painting, but then he became interested in music and gave himself completely to it.
It was from his father that Valentine inherited his extraordinary gift, the ability of incredibly accurate perception of shape and color, as well as his great love of animals, which Serov Sr. most often depicted on his canvases. Alexander Nikolayevich married only at the age of forty-four, he was already an accomplished composer and a mature man. His chosen one was a young and talented pianist Valentina Semenovna Bergman, a former student of the musician.
The only son of the Serovs was born on January 7, 1865. Since childhood, Valentin was surrounded by creative and extraordinary personalities from various social backgrounds, regularly meeting in the house of the composer and his young wife. They included all the talented people of the time, musicians, scientists, writers, artists, and actors.
Among the close friends of Alexander Nikolayevich, who often visited his house, were the sculptor Mark Antokolsky, the writer Ivan Turgenev, with whom Serov was closest, and the artist Nikolai Ge, the first to instill little Valentine, who remained with him for life, love for horses
Like many talented residents of Moscow, Valentin Serov's mother was familiar with Savva Mamontov, who was a great success for the future artist. This philanthropist and industrialist was at the center of the spiritual and intellectual life of Moscow in the second half of the 19th century.
Gathering all the color of the Russian artistic intelligentsia around him, Mamontov gave the guests of his estate in Abramtsevo a unique opportunity to be inspired, to be free, not burdened by anyone, including financial problems and the life of creativity. For more than twenty years, the Mamontov estate near Moscow was an important center of Russian culture, where artists, sometimes throughout the summer, came to communicate, share experiences and combine work with leisure.
Serov is often called the first Russian Impressionist, comparing his work to Renoir's paintings. Although, some art historians believe that the Russian artist was even ahead of his predecessor in vividness of colors, elegance of light transmission and nobility of shades.
If Renoir often used vague and nebulous transitions in his work, creating a certain understatement, then Serov, on the contrary, by all means available to him, demonstrated transparency and depth of background and a brilliant triumph of life in him. In the artist's works you can often see a strange change of light and shadow, an inimitable overflow of light shades and a game with reflections.
Serov was accused of subjectivity to Orlova and that he did not use the most advantageous qualities of the heroine - her elegance and high growth. However, this image once again demonstrated the sensitivity and vision of the artist. The client unrepentantly presented the portrait to the Museum of Alexander III (St. Petersburg State Russian Museum), expressing the only condition that it not be exhibited in the same room as the portrait of the nude Ida Rubinstein.
A friend of the artist Vladimir Dmitrievich von Derviz wrote in his memoirs about him: "Valentin Alexandrovich was distinguished by his absolutely exceptional frankness and simplicity, despite his seemingly rather mild character, he knew how to defend the views of him and never compromised his convictions.
He great painter died unexpectedly, on the morning of November 22, 1911, on the way to the Shcherbatovs’ house, where a portrait session was scheduled for him. The cause of Serov’s early death was an angina attack.
Having lived only forty-six years, as many as thirty of them, Valentin Serov confidently and enthusiastically weaved the golden strokes of his stunning solar masterpieces into the canvas of the Russian Silver Age.
Being in the prime of life, the artist worked a lot. Worshiping the talent of the painter, the poet Valery Bryusov wrote: “Serov was a realist in the best sense of the word. He accurately saw the secret truth of life, his works revealed the very essence of those phenomena that other eyes could not even see. ”
Viktor Mikhaylovich Vasnetsov
He was born on May 15, 1848 in the village of Lopyal, Vyatka province. The father of the future artist - Mikhail Vasnievich Vasnetsov was a hereditary priest. Two years after the birth of Victor, the priest received a parish in the village of Ryabovo, located in the same district. In the future, the childhood of the painter passed there. The village priest's family, like other villagers, lived poorly and simply. Victor had five brothers, all together helping his father run the household since their mother died too early.
Father Mikhail, a well-educated person, tried to give all his children a versatile education. He taught them literacy and numeracy, and also tried to develop an inquiring mind and observation in them. The Vasnetsovs loved reading scientific journals, woodcarving and painting with watercolors.
The harsh nature of the harsh Vyatka region, a separate way of life, folk beliefs, ancient traditions, fairy tales and village songs formed both the life and artistic worldview of the future artist. Victor and his brother Apollinarius (who was also engaged in painting) absorbed this magnificent atmosphere of "traditions of the old days", which later became the main feature of their work.
According to the established family tradition, all sons in the Vasnetsov family were obliged to continue the work of their ancestors and become priests. Therefore, in 1858, Mikhail Vasilievich sent his eldest son, Victor, to a religious school, which he graduated in 1862, after which he transferred to the class of the Vyatka Theological Faculty.
There he studied iconography in addition to scripture. Lectures in church painting were given to seminars by artist NA Chernyshev, who has an icon painting workshop in Vyatka. Vasnetsov spent a lot of time with his teacher, visited the city museum and made many sketches. Later, in the house of Chernyshev, he met with the exiled Polish artist Elviro Andriolli, who became a true friend and mentor to the young Victor. Under his leadership, Vasnetsov wrote his first works.
He was also his official assistant, participating in the painting of the temple built in Vyatka. Andriolli told the young man that St. Petersburg, where many famous Russian painters came out. Petersburg Academy of Arts. Dreaming of painting, Vasnetsov decided to try his luck and pass the entrance exams to this educational institution.
Vasnetsov did not have money to travel to the capital, and then Andriolli, with the help of his fellow countryman, Professor Krasinsky, organized a lottery for wealthy citizens, in which two amateur young talents were sold. So, having received some money, the young man left the penultimate course at the seminary and, with the blessing of Mikhail Vasilievich and the rector, went to Petersburg.
In the summer of next year, Vasnetsov, confident in his own skills, again went to take the entrance exams at the Academy of Arts. Imagine how surprised she was when she learned last year that the institution had enrolled its students! For the first year of work, Viktor received a well-deserved award - a silver medal.
The young man became close friends with young talented artists VD Polenov, AI Kuindzhi, VI Surikov and others. He successfully coped with all the tasks and was noted for his student work by the famous professor PP Chistyakov. Already during his studies, Vasnetsov received good orders from publishers to make illustrations for various works: everyday stories, alphabets and fairy tales.
Fate forced Victor to leave the academy for a while. In 1870, the artist's father passed away, and he had to go to Ryabovo to take care of his brothers. Victor returned to the capital not alone, but with his younger brother Apollinaris.
Arriving in Paris almost without money, but supported by other artists, Viktor Mikhailovich began to meticulously study the Louvre collection and to follow the impressionist discoveries of young French painters.
The artist received an order from the ethnographer VA Dashkov, the former director of the Moscow Folk and Rumyantsev Museum, to create a series of portraits of famous Russian figures from preserved historical engravings. Among the images written by the master were such historical figures as Patriarch Germogen II, the teacher of Peter I NM Zotov, Prince DM Pozharsky and F. Ya. Lefort.
Thanks to this work, Viktor Mikhailovich was increasingly immersed in the atmosphere of tradition and antiquity. He had the opportunity to touch historical ruins, plunge into the unusual atmosphere of past centuries.
Not so positive reaction to the work “Igor Svyatoslavich and After the Polovtsy War” could not force the master to abandon the idea of creating a series of historical epic paintings. The artist's work was increasingly fascinated by archaeological discoveries, antiquity and national folklore. The work “Carpet plane” (1880, Nizhny Novgorod Art Museum), created for the work of SI Mamontov, was written on the subject of a fairy tale and supported talented individuals in every possible way.
The motifs of Russian and Arabian fairy tales are wonderfully intertwined in the work. On a bright oriental carpet covered with old Russian patterns, Ivan Tsarevich proudly sweeps dense forests, swamps and rivers, and illuminates his path with a giant lantern. This is an image of a steam locomotive invented by foreigners and used to illuminate and pave the path of a Russian person along the usual off-road. Such a comparison is not accidental: at that time, Mamontov oversaw the construction and operation of the northern and southern lines of Russian railways.
At the same time, in 1882, Vasnetsov, enthusiastically studying domestic history and folklore, received a new order for the development and construction of a picturesque frieze for the construction of the Moscow Historical Museum. AS Uvarov, the director and head of construction of the Moscow Archaeological Society, suggested that the painter exhibit in a sketch the characteristic occupations of a primitive man.
Vasnetsov immediately sought advice from anthropologists and ethnographers. Soon, a stone age ax and a real mammoth tusk appeared in his workshop. As models of primitive people, the artist was posed by his younger colleagues VA Serov and KA Korovin, who also often visited Mamontov.
The brilliant painter, decorator, illustrator and architect Viktor Mikhailovich Vasnetsov passed away in his house in Moscow on July 23, 1926. He is buried in Vvedensky cemetery, and the works he created became a national treasure, reflecting the heroism and depth of soul of our people.
Donatello (1386-1466)
Donatello was born in Florence, Italy in 1386. Although he is called Donatello for short, his full name is Donato di Niccolò di Betto Bardi. He is the son of a Florentine weaver. Between 1404-1407 he continued the workshop of Lorenzo Ghiberti.
He is considered the greatest sculptor of the fruitful period that marked the beginning of the Italian Renaissance.
The artist, who has wooden carvings and terracotta works as well as marble and bronze sculptures, also worked as a jeweler, painter and architecture. He succeeded in processing marble, bronze and wood with the same skill.
The decorations in churches in Italy are still of unmatched beauty today. He was also influential on great artists such as Donatello Michelangelo Buonarroti and Raffaello Santi.
Success and accolades never changed Donatello, and he was known around him as a simple and humble person. His students, family, and friends alike benefited from his inexhaustible generosity, for money was none of his business; The only thing he was interested in was his art.
He became a source of inspiration for Florentine painters with his works. After working in Ghiberti's workshop for a while in 1403, he undertook the decoration of Florence Cathedral in 1406. The marble statue of "David" he made in 1408 and the series of prophets he performed after him became one of his most important works. He moved away from the traditionally dressed sculpture understanding in the sculpture "St. Georgius" (Bargello), which he completed between 1416 and 1420.
Donatello prepared a series of patron saints for Orsanmichele, a Church in Florence; The sculptures in this series, which were performed on behalf of the Florentine guilds, were placed in the outer niches. The statues of St. Mark (to 1411-1415) and St. Giorgio (to 1415-1417) can be considered a decisive step towards fully independent sculpture. On the seat of the second statue, Donatello made his first bas-relief, St. Georgius Slaying the Dragon.
With his work, Saint Luigi of Toulouse (to 1422-1425), in which he began to use bronze, Donatello provided a definitive solution to the problem of niches that was peculiar to gothic architecture at that time: henceforth, niches were to be opened in a small apse sandwiched between two small Ionian columns in the Corinthian style.
He went to Padova in 1443-1453. Being here in an environment that was more interested in antiquity than the Florentines was instrumental in Donatello's inclination towards larger sculpture studies. Inspired by the equestrian statue of Marcus Aurelius, the militia commander completed his monumental bronze work "Gattamelata" in 1453. Reliefs and sculptures in the Basilica of Sant Antonio, "Sitting Virgin" are his other important works in Padova. When he returned to Florence, he drew attention with his "Crucifixion", "Maria Magdelana" and the reliefs completed by Bernardo and Bertaldo.
The statue of David, which was completed in 1460 towards 1446 and which was formerly in the palace of Lorenzo de Medici and now in the Bargello Museum, portrays the young hero mentioned in the Bible after he defeated his enemy, Goliath. This life-size nude sculpture is the first full relief since Antiquity and constitutes one of the important monuments in the history of sculpture.
Donatello died on December 13, 1466, in Florence, Italy, at the age of 80.
**Major Sculptures:**
1411-1415 St. John, marble.
Towards 1415-1417 Saint Georgius Slaying the Dragon, marble.
1425-1427 The Feast of Herod, gilded bronze.
To 1427-1436 Habakuk (Zuccone), marble.
Good news to Mary towards 1435, limestone.
1438 St. John, wood.
Towards 1445-1453′ Gattamelata showing Condottiere on horseback, bronze.
Towards 1446-1460 David, bronze. (Yudit and Holofernos), bronze.
Saint Maria-Magdalena towards 1454, wood.
Vincent Van Gogh (1953-1890)
Vincent Van Gogh was born in a village in the south of the Netherlands in 1853, the son of a priest. Van Gogh, one of the most tragic artists of the 19th century, lives in constant depression and his belief that he is useless, his desire to do something, to find a way out is the reason for his anxiety. He suffers, is unhappy, restless and lonely, but he wanted to arouse joy and joy with his paintings, tried to turn pain into joy, sadness into joy and loneliness into togetherness.
He was influenced by the loneliness, sadness and pain of people and reflected these in his paintings. He took an interest in the afflicted; like all melancholics who feel out of harmony in the world they live in. Being unhappy is because of his loneliness. His belief that he will never achieve anything, his self-doubt, his tragic fate, and his death are what make him melancholic.
Van Gogh saw himself humiliated and distanced from love in the world. In his letters, he wrote to Theo that he was not in his own hands, that he was locked in a cage as a result of the series of events drawn by fate, that he wanted to do something, but could not find a way. Later, he found his job and devoted himself completely to it with great enthusiasm.
In his early charcoal works, he dealt with miners and villagers, treated subjects such as potato piles and looms, while painting gloomy skies and depressing landscapes in dark colors. The Potato Eaters painting symbolizes this dreary and depressing period (Vincent Van Gogh Museum, Amsterdam).
In the painting dated 1885, daily life in the interior is the subject. Workers are shown sharing and eating the potatoes they planted. The only light source is a lamp hanging from above. The light of the lamp illuminates the potatoes. The same colors and tones are dominant throughout the picture. Dark shades of green and brown.
He was trying to get the dusty color of the potato. The color that dominated the whole picture was the color of wild potatoes. The gloomy and dark appearance of the painting and the faces of the people, the poverty create a melancholy atmosphere. Observing such people, Van Gogh also knew what poverty meant. I have always preferred to stay hungry. How can a person bear it? I can see the effect of hunger in my paintings so much that I worry about my future".
In the painting Portrait of Doctor Gachet -1890-, a man sitting with his elbow on the table is seen (Musee du Jeu de Pavme, Paris). The fist of the white capped figure is on his cheek and supports his head. Van Gogh also states that Doctor Gachet, looking thoughtful and dejected, looked sick as well as angry. The face of the figure is dominated by melancholy, sadness, despair and hopelessness. This sadness spreads all over the picture.
All colors and lines fit into this melancholic atmosphere. The lines of the figure follow the gloomy appearance and reveal this emotional mood. The dark blue jacket on it and the dark blue color of the background and the pallor of the face strengthen the expression.
The depiction of the starry night in his landscape, A Starry Night on the Rhine -1888, is dazzling. Luminous stars, artificial lights hitting the sea from the shore, and dark blue and blue tones spread throughout the picture. A couple is seen walking in the foreground. The male of the couples seen here and in other paintings is depicted as having red hair.
The painter, who was alone all his life, always drew his wife, whom he could never find in real life, next to him in his paintings. The figures are very small in the landscape and face the viewer. In one of his letters, he wrote, "The problem of transferring the night landscapes and the features of the night environment to the canvas in the true darkness of the night and on the spot, besieges me from all sides".
It states that death is a means to go to the stars in the sky. He thought that the stars attained by death could be attained. The night is dark, it is fear, it is death, it is sleep, it is loneliness, it is sadness.
Wheat Field Under a Cloudy Sky -1890-"these are vast fields of wheat lying under a gloomy sky...I had no trouble expressing my deep sorrow and endless loneliness," he wrote to Theo in his letter. (Vincent Van Gogh Museum, Amsterdam). However, according to him, sadness and sadness are still healing and joyful.
Under the sky dominated by dark blue tones that cover more than half of the picture, the fields are illuminated with yellows and greens and whites. In front are several small poppy heads. "I think the sullen green colors go well with the earthy tones, there's an air of sadness about it that I don't find healthy and therefore unattractive"
Wheatfield and Crows, -1890, again depicts a gloomy and dark sky (Vincent Van Gogh Museum, Amsterdam). Van Gogh tried to convey his sadness and extreme loneliness with this painting. Three separate roads separate from the wide field. The viewer is shaken by the uncertainty of where the end of the path and the horizon are in the corner of the picture or in the field. The normal perspective setup of wide open fields is reversed. Lines run off the horizon to meet in front of the painting.
While making this painting, Vincent collapsed on the ground in front of the wheat field divided by two roads rising towards the horizon with his materials in front of him - the third road was in the lower right corner of the picture - and fired twice, first to the left and then to the right. Blackbirds symbolize death. The crows flying in the stormy low sky and the distinctive purple brush strokes in the sky evoke the feelings of loneliness and sorrow in the viewer.
Van Gogh, who shot himself on July 29, 1890, died two days later. In the letter he wrote to his brother after his death, which he did not send, he wrote, "In short, I risk my life for the sake of art and therefore I have lost half of my mind".
Diego Rodriguez de Silva Velazquez (1599-1660)
The great painter and brilliant diplomat Diego Rodriguez de Silva Velazquez has become one of the brightest symbols of the 17th century art era. A talented artist, caressed by King Philip IV, lived a busy life and created amazing masterpieces of world painting. His works, called various critics, sometimes vital and sincere, sometimes cold and mysterious, have for many centuries won the hearts of art lovers around the world.
The exact date of birth of Diego Velazquez, the son of aristocrats, immigrants from Portugal, who lived in Spanish Seville, remained unknown. All we have is a record of June 6, 1599, testifying to the baptism of the future great master in the local church.
Diego was lucky from the very beginning, his parents favored the boy’s passion for drawing and early sent him to the studio of the most famous local painter - Francisco de Herrera the Elder (1576-1656). I must say that at that time, Seville was not just a thriving port city, it was famous throughout Spain for its monasteries, silk production, as well as poets, writers and beautiful painters.
The young artist was very diligent in training, and, according to early biographers, he grasped everything literally “on the fly”. However, only a year later, he left Herrera’s workshop, which was due to the extremely difficult character of the venerable painter.
Diego Velazquez was only 17 years old when he joined the corporation of Seville artists, after which his independent career began. Soon, Diego and Pacheco’s daughter, Juana Miranda, had two daughters: Ignasia and Francisco, however, the first of them, Ignasia, died while being very small. But the young artist, although he began the life of a family man, did not forget his career for a minute.
The artist managed to establish strong contacts at the court of Philip IV. Under the patronage of an old friend of the artist Pacheco - royal chaplain don Juan de Fonseca, Velazquez received an order for a portrait from Count Olivares. Amazing performance, a noble origin and the necessary connections helped the painter first find in the person of the count a patron and friend, and then gave the good will of the monarch himself. A young, educated polyglot and lover of beautiful women, King Philip IV, who fully trusted Olivares, finally agreed to meet a little-known Seville artist.
The fire in the royal palace of 1734 destroyed both the palace itself and the huge collection of works of art stored in it. Among the lost paintings were all the first portraits of the Duke of Olivares and King Philip IV, owned by Velasquez.
But there was evidence of contemporaries that the artist was awarded the highest praise that the king could have for his works. Immediately, on the first year of his arrival in the capital, on October 6, 1623, the artist was appointed court painter of the King of Spain. In his workshop, located in the wing of the palace of the Spanish monarch, a special chair was installed for His Royal Majesty, and Philip IV was located there at any time convenient for him, often opening the room with his own key.
In 1656, the renowned painter creates a picture considered the crown of his work and one of the most mysterious paintings in the history of art - “Menins” (Prado, Madrid).
Translated from Spanish, “menin” is a young girl of noble birth, who is the constant maid of honor of the princess and always accompanies her in her retinue. According to the inventory of the royal palace, the canvas was listed as “Family Portrait”, but it is very difficult to call it “family”, as, indeed, “Menins” is a surprisingly inappropriate name for it.
The art of Velazquez most deeply expressed the rapid flowering of realistic painting of the XVII century in Europe. True images created by a brilliant painter still serve as an unsurpassed example of perfection for true connoisseurs of art and artists of different generations.
In 1660, Velazquez went to the court of the French monarch to settle issues regarding the conclusion between the Spain and France of the "Iberian Peace", which ended the long-standing confrontation between the two countries. The essence of the artist’s mission, chosen by the trustee of the King of Spain, Philip IV, was to settle all the issues regarding the marriage between the eldest daughter of the king Maria Theresa and Louis XIV.
According to tradition, an event of this magnitude was required to be fixed with "blood ties." The artist not only wrote and delivered to Versailles the magnificent “Portrait of the Infanta Maria Theresa” (1652, Vienna Museum of Art and History), he also organized all the celebrations and receptions on this occasion, and even accompanied the royal motorcade to the wedding ceremony, which took place on the island Pheasants on the French-Spanish border.
And although Velazquez received many praises from Philip IV for his hard work, his strength and health were undermined. Returning to Madrid, the sixty-year-old painter felt a fit of fever. All the best court doctors gathered to save the beloved royal dignitary, but none of them could cure the master. On August 6, 1660, Diego Rodriguez de Silva Velazquez passed away.
Salvador Dali (1904-1989)
Salvador Dalí was born on May 11, 1904, in a village of Figueras (a town in Northern Spain close to the Pyrienes). He was born 3 years after his brother, who died of meningitis when he was 6 years old.
In 1973 he would write: "As soon as I was born, I started walking in the footsteps of a worshiped dead. They still loved him when they loved me. Maybe more than me... These limits of my father's love have been a great wound for me from the first days of my life."
The name they gave him; It was the same name as his dead brother: Salvador. The painter looked like a twin to this brother. It was a living mirror of Velazquez's painting of his brother, which hung in his parents' bedroom along with Jesus on the Cross. Thus, Salvador Dalí became a petty despot. His fits of hysteria and theatrical movements for the attention of his family were commonplace. For a long time, even the birth of his sister, Ana Maria, who conquered him, was not enough to correct him. On the contrary, as time passed, the desire to express one's difference became more and more unbearable.
Sick child; It was the title of his first self-portrait, which he did at the age of 10. After a while, he started his first painting course. His teacher, Juan Núñez, was a good painter; He learned to draw from him. Later, Catalan (the name given to people who speak a different language called Catalan living in the North-East of Spain) came to know the impressionists and realists.
He later discovered Cubism and Juan Gris. He started the Madrid San Fernando Academy in the early 20s. However, he was expelled from school for his anarchist movements and was imprisoned in Girona for a while. (1923) He was expelled completely in 1926, although he was later re-admitted to the school. The following year he met Picasso in Paris. 10 years later in London Stefan Zweig introduced him to Sigmund Freud.
He met Luis Buñuel and García Lorca in Madrid in 1923. So Dalí changed. Also with its appearance. His long hair at the beginning; His pipe, which never fell out of his mouth, later turned into a sullen man in a sports suit with short brindle hair. daily life; revolved around an intellectual discourse and a luxurious life. He helped stage the movie "An Andalusian Dog" with Buñuel. But. He avoided a second film, accusing Buñuel of impiety. However, he became very close friends with García Lorca. Between 1925-36 they had a harmonious friendship. The women weren't very interested. They were "necessary only for their erotic fantasies".
The event that changed Dali's mind took place in 1926 when he met Gala. Premiere; she was the daughter of a Russian lawyer and the wife of the surrealist poet Paul Eduard. He was with his wife when he first saw her on the opposite terrace of the Hotel Miramar on the Catalan coast of the Mediterranean Sea in Cadaquez. They agreed to meet at the beach at 11 am the next day.
Dali decided to prepare this event in a purely symbolic form. Undressed. She cut and folded her clothes to show her nipples, hair, belly button, and browning skin. She wore a pearl necklace around her neck and a red geranium in her ear. Inspired by her shaving injury, she smeared her own blood. She mixed it with fishtail, goat dung, and oil. But seeing Gala through the window, especially her bare tanned back, she decided to put an end to this deadly ritual and strip her of her limpness and this plague of passion.
After a few months, they would start living together completely in love. And from that moment on Gala; For Dali, she will be a lover, a friend, a muse and a model (his first appearance in profile on Gran Mastrubador), an adviser and, above all, the manager of his existence. They built their life's home in Port Lligat. They traveled all over the world, first to escape the Spanish Civil War and then World War II.
Dali explains his thought as follows: "I have always been an anarchist and at the same time a monarchist. I have always been against the bourgeoisie and still am. The real cultural revolution is possible through the restoration of monarchist principles." But in 1934, after five years of active cooperation, he was separated from his old surrealist friends and accused of turning into a petty bourgeois. Because he avoided politics: "Marxism did not interest me in the least. Politics was like a cancer." He settled in New York, but returned occasionally.
For example, after the fascists killed his friend Garcia Lorca or after the Nazi invasion. However, he was sought after, loved, and well paid by North Americans. They dedicated a 1966 retrospective to him at the New York Museum of Modern Art in 1966. She had to wait until 1979 for another exhibition in Beuborg.
Gala died 3 years later in 1982. She almost stopped painting after that time. Dali settled in Pubol, where Gala's tomb is located, and gave his last works. Recognizing all currents; passing through all possible influences; After creating that gigantic work "The Tower of Babel" with all his madness; Salvador Dali noticed a thread running through his art. This thread was invisibly connecting his first surrealist work, which he produced before he was even with Breton, to his truly surrealist work. Dali's eyes, which Freud described as sincere and fanatical; he was always exploring a fascinating world.
Dali never parted with his adored muse Gala, he was attached to her for a home more than his need for himself. After surviving the fire in Pubol Castle; He died on February 23, 1989 at the Figueras hospital, at the age of 84. His body was medicated; and was buried under the giant dome that dominated his museum in Figueras.
Balthus (1908-2001)
Balthus was born on February 29, 1908 in Paris into an artist family. Balthus' first published work was a collection of 40 drawings about his lost cat named Mitsou. The distinctive hallucinatory images of the French painter, who revived traditional genres of European painting such as landscape, still life, themed painting and portraiture in the 20th century, were sometimes described as surrealistic.
Having opened his first solo exhibition in Paris in 1934, the artist devoted most of his time to creating quiet landscapes with mysterious poetic interiors that grew larger and larger. In these paintings, he often placed lonely, deceptively mature figures of young girls, but nude at a young age.
Balthus became one of the artists who managed to see his works exhibited in the famous Louvre Museum in Paris while he was alive. French President Jacques Chirac, who praised Balthus as an admirable genius, declared that he was deeply saddened by the artist's death. Balthus, who is married to Setsuko of Japanese descent, has among his most famous works Street (1933), Mountain (1937), Cards (1943), Nude in Front of the Fireplace (1955) and Carders (1973). Pablo Picasso, an admirer of Balthus, who was friends with many French writers and intellectuals, bought the artist's painting Children (1937). Picasso said of Balthus, "So much better than young artists who do nothing but copy me. A real painter."
The painter, whose real name is Balthazar Klossowski de Rola, was one of the artists who managed to see his works exhibited in the famous Louvre Museum in Paris while he was alive. A ARTICLE The death of the "Prince of Darkness" What does the death of Balthus, the last painter of the 20th century, mean? Balthus was a true legend. He was the son of a Polish nobleman, but was thought to be the illegitimate son of Rilke, who had an undeniable role in his upbringing.
His childhood was spent in the intellectual circles of 1920-30''s Germany, Switzerland, but mostly Paris. Andre Gide was one of his supporters. The Europe of those years was shaken by the art movements that exploded one after the other. Picasso and Braque started cubism in 1915 and made a mess. The reality he lived in, the time-space sequence he used to understand and describe it, the optical world were too narrow for one. Einstein laid the foundations of relativism in science and Freud in consciousness. A new era was beginning.
Balthus was never close to the ""vanguard" (avant-garde) art, where innovation means everything but at any cost. His painting began to feed off of the second great artistic breakthrough of the 20th century, surrealism. This was the essential quality that Balthus would follow to the end and always make him an extraordinary man. Balthus never forgot that there may be another dimension of the truth, that that dimension can be intertwined with the dark side of the human being. Moreover, while placing a metarealistic force, an imaginary expression in the background of his paintings, he did this with a different approach than Dali's and Magritte's.
He never gravitated towards their symbolic expression of reality, which compelled the verbal but comprehensible meanings of the language. Balthus, like Chrico, to whom he was most close, used metarealism as an atmosphere, as a possibility to set the world of dreams in motion. Because what he wanted to do was different. Balthus was the name on another plane of '''evil''' which was the mainstay of Western art. Balthus was trying to give one of these real qualities of man, which is sometimes tried to be explained with a cheap word like "'perversion'', out of everyday things, and it was very, very disturbing for that reason. Starting from Lautreamont, passing through Sade, integrating with Poe and influencing all Metarealists, the '''pataphysic''' artists were also his starting point.
For this reason, one of the most outstanding examples of literature, which Bataille called '''evil literature''' later on, will illustrate Wuthering Heights, '''the madman'' '''The Metarealistic Artaud''. He would be a close friend of ', but would gain his real fame by portraying the provocative sexuality of teenage girls. He was always in the position of a voyeur in his paintings. He was pushing the viewer to the same position, provoking him to look at an indecent image that he would be ashamed to see, forcing him to face himself. He resisted until the end. Then he would retire to the big house he had bought in Switzerland, where he would live his rumored secret life with his Japanese wife, whom he married as a child, and his daughter with him, and another girl he had used as a model as a child.
It was the form he used to reflect this '''content''' that put Balthus ''' in the focus of modern painting. The classical world was indispensable to him. Starting from della Francesca, which he admired in his youth and copied out his works, he always used Renaissance painting's understanding of '''order'', sense of depth, complexity arising from simplicity. It was a contemporary extension of that great Renaissance painting that I could never finish my personal reckoning with.
Paul Cezanne (1839-1906)
In 1861, he went to Paris, to his childhood friend Emile Zola, to learn the art of painting. He studied at the Swiss Academy and the Louvre. He met artists such as Renoir, Pissarro, Sisley, Guillaumin. Delacroix admired Courbet, Manet. He returned to Aix after failing to pass the entrance exams of the Academy of Fine Arts. He devoted all his time to painting and continued to work on painting even though all the paintings he sent to the Salon were turned back.
He painted portraits, still lifes and sometimes landscapes, copying the works of old Italian masters. His works during this period include Father of the Painter, Negro Scipio (1865, Museum of Sao Paulo), Portrait of Louis-Auguste Cezanne Reading l''Evenement (1866), The Man in the Cotton Cap (1865-67), Painter Achille Emperaire. Paintings Portrait of ' ' ' (1866), Paul Alexis Reading Zola (1869), Portrait of Hasir Hatcal Boyer (1869-70) and Magdalen or Elem (1866-68), Black Marble Clock (1869- 70, private col., America) and Still Life with Tin Teapot (1869-70), and landscapes titled Melting Snows in Estaque (1870) and Wine Market (1872). In these works, thick layers of color and black shadows attract attention. It is seen that he uses an unusual white color in addition to the dark and dreary colors that black, brown, gray and Prussian blue predominate.
Cezanne's friendship with the Impressionists, and especially with Pissarro, whom he met at the Swiss Academy, allowed him to leave the dull colors and use the bright, light-toned colors of the Impressionists. He abandoned the technique of thick color layers and turned to the punctuation method with light brush strokes and used surfaces that seemed to be coagulated. This period, 1872-82, is Cezanne's Impressionist period. A Modern Olympia (1873), The House of the Hanged Man (1873, Louvre Museum, Paris), Yiddish Flowers (1875), Madame Cezanne with the Red Arm (1877, private arm., America), Portrait of Victor Chocquet (1876-77), Many of his famous works belong to this period, such as L'Estaque (1878-79, Louvre), Cote du Jalais (1879-82) in Pontoise, Poplars (1879-82), and Maincy Bridge (1879, Louvre).
Cezanne's art, which departed from the rules of impressionism, quickly developed towards an attitude that was simplified but more elaborated and placed more emphasis on structure. He enriched his style with elements stemming from his imagination and observations. He combined the strength of pattern with the expressive sensitivity of colors. The attitude of Cezanne, who did not follow the classical perspective rules very well, later became the pioneer of the Cubists, which he greatly influenced.
Meanwhile, in 1886, they broke up with Emile Zola. He married Hortense Fiquet. Portraits of His Wife, Still Life with Blue Vase and Basket (Louvre), Boy in Red Vest (18900-95), Woman with Pot (1890-95, Louvre) and Card Players (various versions around 1890), Portrait of Gustave Geffroy (1895) and His art reached balance and competence with his paintings called A Jester.
Removing depth in his works, the artist applied a folding perspective. Still lifes such as Peppermint High School, Apples and Oranges (1895-1900, Louvre) are major works that emphasize this orientation.
The artist's last decade is known as his lyrical period. In this period, he produced flamboyant and daring works by focusing on a certain lyricism and freer brush strokes. He also used the faster method, the watercolor technique. In his works, signs of the definite rational approach peculiar to cubism, which is just beginning, are selected. At the same time, the features of the Fovist movement, which uses colors and forms with a lyrical understanding, are also striking. His paintings Mount Sainte-Victoire, Lake Annecy (1896), Rocks and Branches at Bibemus (1904) and Black Castle (1904-06) are such works. Cezanne's art reached its peak with his painting Les Grandes Baigneuses-Women Washing (1902-06), which he made in the last years of his life. This painting is a magnificent work with its rhythmic composition, precisely placed planes and the harmony of the whole painting, and it is reminiscent of Picasso's painting Young Girls from Avignon, painted at about the same time.
The works of Cezanne, especially after the Salon d''Automne' opened in Paris in 1907, XX. YY. counted among the most important sources of his painting. Cezanne greatly influenced the new generation of fauves, cubists, and abstract artists who would later give birth to modern painting.
Ludwig van Beethoven (1770-1827)
Ludwig van Beethoven was born on 16 December 1770 in Bonn, a small city on the Rhine and the capital of the electoral diocese of Cologne. Like his grandfather Ludwig, who was the musical director of the capella until his death (1773) and his father Johann, who died of alcoholism in 1792, the young Beethoven entered the service of the Cologne elector (elector) as a court musician from his childhood.
Christian Gottlob Neefe (1748-1788), who arrived in Bonn in 1779, became his first important teacher. When Neefe briefly left Bonn in 1782, Beethoven replaced him as organist. That same year he composed his first work (Variations on the Dressler's Anthem), followed in 1783 by three sonatas, which he dedicated to the electorate Maximilian-Friedrich. In 1784, a new electorate, II. Maximilian-Franz, brother of Joseph and Marie-Antoinette, took over. Having liberal thoughts, the prince adopted a policy of reform. Beethoven earned a regular salary as an organist, and also played alto in the orchestra. In 1785 he composed three Piano Quartets; These were only published after his death. In the spring of 1787, he met Mozart during a short trip to Vienna and returned to Bonn to see his mother before she died. In 1789, with his father completely swamped with alcohol, Beethoven took charge of the family (he had two younger siblings) and made sure that half of his father's salary went to him. Thanks to his close friend Franz Gerhard Wegeler (1765-1848), who studied medicine, he was accepted and treated like a family member by the Von Breunings, who were considered a multicultural family. In 1790, one of his first important works, Emperor II. He composed the cantata On the Death of Joseph. But the future Beethoven would rather introduce himself with some piano variations.
Beethoven, one year younger than Napoleon, was 20 years old at the beginning of the French Revolution and was influenced by it all his life. He lived mostly in Vienna from 1792 until his death. In this city, it witnessed the last moments of aristocratic musical culture as well as the debut of a more bourgeois musical culture.
Returning from a trip to London in July 1792, Haydn was passing through Bonn, thanks to Count Ferdinand von Waldstein (1762-1823), a close colleague of the electorate and a music-savvy art patron, that Beethoven met with him in Vienna, to become Haydn's student. meeting was decided. In November 1792, Beethoven went to the Austrian capital to stay in principle for only a few months (he was thinking of returning to Bonn and continuing his work), essentially staying for the rest of his life. Mozart had died a year earlier (December 1791). The lessons he took from Haydn lasted for about a year, until January 1794. The lessons have been incredibly useful. Although Beethoven returned to the counterpoint master, Johann Georg Albrechtsberger (1736-1809), the lessons he learned from Haydn's famous instrumental works (and which he continued to compose at the time) and his advice on this matter proved invaluable to Beethoven. would come out. The publication of the opus 1 Trio for Piano, Violin and Cello in August 1795 and the opus 2 three sonatas (dedicated to Haydn) in March 1796 officially made Beethoven a Viennese composer. Returning to Bonn, which had become the center of a French province, was no longer an issue. From February to July 1796, Beethoven toured Prague, Dresden, Leipzig and Berlin. Beethoven's early years in Vienna passed in very bright and high society circles, thanks to the bodyguard of many famous families of the aristocracy (Lihnovski, Lobkovic, Schwarzenberg...) and his striking success as a pianist in public, but especially in private halls. Thus, he composed many piano works during this period. He finished more than half of his 32 sonatas in 1802. From March 1795 he published the first versions of the 2nd Piano Concerto (opus 19), and from December 1795 the first versions of the 1st Piano Concerto (opus 15). His notable works include the opus 9 Triads for string instruments (1797-1798) and the opus 13 Patetic sonata (finished in the first half of 1798), among his sonatas; Two sonatas (opus 27 no: 1 and no: 2 1800-1801) titled Quasi una Fantasia should be counted; The title of the Moonlight Sonata placed on the second of these does not correspond to reality. Beethoven was late discovering the string quartet and symphony styles most associated with the Haydn name. From 1798 to 1800 Beethoven composed the first six of his 16 (or 18) string quartets (opus 18) and played his First Symphony (opus 21) on April 2, 1800, during his first self-serve concert. In a concert of the same type on April 5, 1803, his Second Symphony (opus 36), Third Piano Concerto (opus 37) and oratorio Jesus in the Olive Branch (opus 85) were performed.
After 1800, Beethoven felt the first signs of deafness that would eventually cut him off from the world. His suicide attempt during a crisis on 6-10 October 1802 was explained in the famous Heiligenstadt Will, and this work was found in the composer's papers after his death.
From 1804, when Haydn stopped composing, to 1814-1815 (the Vienna Congress), Beethoven single-handedly dominated the artistic life of Vienna. He composed many of his most popular and most played works of unprecedented length in this period. The first and most striking example of this new cycle is the Third Symphony (opus 55, 1803-1804), which was originally titled Bonaparte, and was published in 1806 as the Eroica Symphony (Beethoven states that it was dedicated to commemorating the memory of a great man). In fact, there is nothing to indicate that the Great Man Beethoven speaks of was Napoleon: the Third Piano concerto was thought to be dedicated to the Prussian prince Louis-Ferdinad, who was considered a good pianist and composer; The prince died in a battle with the French in October 1806. It should also be noted that the emphasis placed on the myth of Prometheus (no one compared Napoleon to this supreme creator) and the finale of Eroica rework a theme of the ballet Creations of Prometheus (opus 43, 1801). Waldstein (opus 53, 1803-1804) in a succession of sonatas, from symphonies to Eroica and string quartets to the three string quartets (Razumovski Quartets) numbered opus 59 (1806), dedicated to the count of Russia (later prince) and named after the count played an important role. The Sonata Appassionata (opus 57) was composed in 1805. In 1806, the Fourth Piano Concerto (opus 58), Violin Concerto (opus 61) and the Fourth Symphony (opus 60) should be counted. Apart from the first two opus 59 string quartets, which were described as difficult, these works were very successful. The first version of the opera Fidelio, which deals with the love of marriage and freedom, was made in 1805 by World War II. It was performed with an overture called Leonore. In March 1806, III. The second version, performed with the Leonore overture, followed. Around this time, Beethoven had a passionate affair with Josephine von Brunswick. However, Brunswick abandoned Beethoven because of the social class difference. Fantasy for Piano, Orchestra and Chorus (opus 80), Fifth Symphony (opus 67), famous CDO MinorÈ and Sixth Symphony (opus 68, known as Pastoral) were performed for the first time at the concert given on December 22, 1808, and in Beethoven's career. constituted a peak. This concert was a farewell concert for Beethoven, as he seriously considered leaving Vienna and working in Kassel as the capella director of the king JZrÔme Bonaparte. Archduke Rudolf (his student) and Lobkovitz and Kinsky dissuaded Beethoven by promising him a pension, but that salary would lose its value due to inflation caused by the outbreak of war. In 1809, the year Haydn died and Napoleon's second invasion of Vienna, the Fifth Piano Concerto (opus 73, Emperor) and the String Quartet No. 10 (opus 74) were performed in 1810 by Goethe's Egmont. stage music and the String Quartet No. 11 (opus 95), the Seventh Symphony (opus 92) and the Eighth Symphony (opus 93) were composed in 1811-1812.
Pierre Auguste Renoir (1841-1919)
February 25, 1841 in the town of Limoges in southern France, the fourth child was born in the tailor’s family – a boy named Pierre Auguste. A few years later, the entire Renoir family moved to Paris. From early childhood, Auguste was distinguished by excellent drawing abilities, as well as a magnificent voice.
The head of the church choir, where the young Renoir sang, even advised his parents to think about their son’s musical career (by the way, it was Charles Gounod, who later wrote the famous opera Faust). But the family of the future artist was not rich, and his father saw a different future for his son – the prestigious and well-paid work of the artist in china.
So, in 1854, at the age of thirteen, Auguste entered the porcelain factory. The young man liked this profession, he quickly learned and began to paint cups and saucers, and then entire services. At the same time, the young man often went to the Louvre, where he painted, inspired by antique sculpture and painting by the Rococo artist Francois Boucher, who wrote light genre scenes. Over time, Renoir began to copy them in porcelain paintings.
The young man, desperate at first, tried to paint products with great speed, which did not bring him success. As a result, he had to look for other earnings. The time has come for temporary work with the constant development of various techniques. Renoir first painted fans and walls of Parisian cafes, then accidentally got a job as a curtain master. By the way, he mastered this technique to perfection and again began to make good money, but the artist did not want to rest on his laurels, since this occupation was definitely not the limit of his dreams. Renoir set aside all the money he earned on a new dream – painting at a special School at the Academy of Arts.
Auguste Renoir quite often worked together with another prominent representative of the young impressionists, Claude Monet. Artists painted from the same nature, observed light and shadow in nature, and studied the possibilities of the palette in conveying these effects. An example of their union is the famous paintings “Frogs” – paintings painted not only from one nature, but also named the same. The plot of the paintings is simple – a floating cafe with a fun audience on the background of wooden boats waiting for their passengers.
**Last years**
The artist still traveled a lot. In 1894, a second child appeared in the Renoir family – the son of Jean. And in 1897 a small incident happened. It did not portend in itself any problems. The artist unsuccessfully fell off his bicycle and broke his right arm. During recovery, the master learned to write with his left hand. But even after a complete healing of the fracture, Renoir did not leave constant severe pain. So began severe arthritis, which did not leave the artist for the next twenty years of his life, gradually fettering movements and facial expressions, twisting his fingers, and then completely causing paralysis. Alina did everything possible to save her beloved spouse, however, after each short-term improvement in his condition, relapses invariably occurred. Friends often came to visit the painter,Renoir himself did not stop working until the last day of his life. In 1901, his third son Claude was born, who became the most beloved model of an aging artist.
Renoir paintings were exhibited at many exhibitions in Paris, New York and London. They brought him well-deserved fame. And in 1900, the artist became a holder of the Legion of Honor, and ten years later – an officer of the order.
In 1909, the painter creates two more paired works: “Dancer with Castanets” and “Dancer with Tambourine” (both – National Gallery, London), in which a clear influence of Renaissance art is revealed. Plastic bodies, calmly contemplative expression, drapery and abstract background bring them closer in style to the frescoes of the great masters of the past. The works are very decorative, the figures of the dancers as if descended from an old frieze.
The work "Gabriel with the Rose" (1911, Musee d’Orsay, Paris) is very different from the "classical" portraits of the master. The canvas palette darkened, the model does not dazzle with a sparkle of eyes and a radiant smile. But clearly more plastic study of volumes is evident. But it’s all early, it is obvious that the aging artist admires the smoothness and tenderness of the skin of his heroine (Gabrielle was a relative of his wife and helped her with raising children).
With the outbreak of World War I, the elder sons of the Renoirs went to the front, both of them returned, but wounded. Alina tried her best to help her children, but, not having endured the emotions, she died. Renoir continued to write in a wheelchair, overcoming severe pain in his entire body, until his death on December 2, 1919.
Titian(Tiziano Vecellio)(1525–1530)
Like many geniuses who were ahead of their era, Henri Rousseau did not know during his life, neither fame nor wealth. A talented artist, who worked until the age of 41 as an ordinary clerk in the Paris customs department, found the willpower to give up his usual way of life and devote himself completely to painting. The only thing that supported Rousseau in his hobby was an unshakable faith in his own talent, which allowed him to become one of the greatest masters of his era. Surprisingly, the desire to imitate the techniques of the past transferred the artist directly to the future - his creative manner will become very characteristic of many masters of the XX century. Russo’s “naive” art, keeping pace with impressionism, soon separated into a completely different school. The original style of the painter, replete with elements of phantasmagoria, was admired by Pablo Picasso and Robert Delaunay, giving Rousseau himself only minimal means of subsistence during his life.
Starting his career as an artist at the age of forty-one, Henri Russo was self-taught. Arriving from the provinces in Paris and settled in as a petty official, Rousseau painted everywhere: while on duty at work, taking advantage of the favor of his superiors, and at night at home. Poor, but patient, modest, but confident in his genius, he became one of the leading and most recognized masters of the artistic avant-garde, which was admired by progressive contemporaries and generations of descendants.
Once Rousseau himself wrote an autobiographical note for the book “Portraits of the Next Century” - “Born in Laval in 1844 in a family with desperate modest incomes, he was forced to devote himself to the wrong profession, which attracted him to his love of art.” True, the book never came out.
The father of a self-taught artist was Julien Russo - a hereditary tinsmith from a town in the west of France - Laval. And his mother is the daughter of an officer of the Great Army of Napoleon. Henri’s father desperately wanted to get rich, therefore, having bought a house on the outskirts of the city, he leaves his craft as a tinsmith and tries to establish a business of reselling various goods. But, alas, his work is burned out, and since then hopeless poverty has settled in the house of Russo.
Fortunately, despite the extreme need, the family of the future artist was able to send her only son to study first at school, and then at the Lyceum. Henri was an average student, although he managed to get a number of school awards, distinguishing himself in singing and arithmetic. These seemingly insignificant achievements are everywhere noted in his biography not because Rousseau became world famous artists, but because he also wrote an amazing waltz named after his first wife - “Clemence”.
Back in 1871, the young Russo got a permanent job at the customs of the Excise Department, which in the 19th century collected taxes from goods imported to Paris. Inspection of goods at the city gates is a boring and monotonous occupation, but it does not limit the inner freedom of the person performing it.
During one of the next shifts, a small clerk sets up an easel right in the courtyard of the department building, and begins to draw. Unfortunately, the paintings painted by Russo until 1877 did not survive. The exception is only one, depicting a battle scene against the backdrop of the local landscape.
Female images, as well as images of animals, occupied a huge place in the artist’s work. Two large female portraits, painted by Rousseau with a small gap, are very similar compositions. Both depict women in black standing full-length. The format of the works and the poses of the characters allow attributing the paintings to the genre of parade portraits. Perhaps both of them were made to order, although the identity of the models remained unknown.
The first canvas - “Portrait of a Woman” (alternative name “Portrait of Mrs. M.”) was created around 1895. It was this painting that was acquired at a very modest price in 1908 by another brilliant artist - Pablo Picasso (1881-1973), who was very enthusiastic about it. This work is also known as Jadwiga, although there is no evidence that the model name matches.
Once, the mother of the artist Robert Delaunay, succumbing to the entreaties of her son, decided to order a Russo painting. Her stories about an exotic trip to India inspired the Customs Officer to create a canvas designed in rich green tones typical of the tropical jungle. In the center of the picture we see the figure of a black-haired woman - a snake charmer, who is very reminiscent of an ancient mystical deity. Black snakes, as if mesmerized by the magical sounds of her pipes, slowly creep out from everywhere, and if at first glance they are barely distinguishable, then when the look gets used to a variegated variety and begins to distinguish details, you see them more and more. Amazingly, their movement on the canvas is felt almost physically. The eyes of the female figure, which are the only bright spot in the picture, add a mystical shade to the canvas,their tremendous attractive power is striking.
In 1910, Henri Russo creates his greatest masterpiece - the canvas "Dream", exhibited by him in the same year at the 26th Salon of Independents. All his friends and colleagues unanimously claim that the work is worthy of the best reviews. The poet Guillaume Apollinaire writes about her in one of his articles: “I think that this year no one dares to laugh. You can ask the artists - everyone is unanimous, everyone admires them, even this sofa in the style of Louis - Philippe, lost in a virgin forest. And they are right. ”
Apollinaire solemnly recites the ode he wrote for this evening: “We have gathered to honor you with wine, which pours Picasso. There is reason to drink, and we will drink and rejoice: “Long live Rousseau!” Around the table gathered: artists Georges Braque (1882 - 1963), Marie Lorensen and Andre Derain (1880 - 1954), writer Andre Salomon, poet Max Jacob (1876 - 1944) and two American women - the famous writer Gertrude Stein (1874 - 1946) and Alicia Toklas. Wine flows like water, Rousseau takes the violin and plays the waltz that he once wrote for Clemence. Then he comes to Picasso and quietly says in his ear: "We are the two greatest artists of the era." Then Apollinaire gets up again and reads a poem telling about Rousseau’s trip to Mexico invented by him: “Do you remember, Rousseau, the Aztec landscape? Forests where pineapples and mangoes grew, Merry monkeys, watermelon pulp,Race warmed the emperor Maximilian? "Your paintings come from Mexico, Where the burning sun and the riot of nature." An artist who has never been to this country does not even try to object, because today is the long-awaited day of his triumph.
Later, a friend of Picasso, Fernanda Olivier will argue that the festive reception in Bateau Lavoir was a joke, a hoax. However, Andre Salomon writes in his memoirs: "In Bato Lavoir, we had only one task - we wanted to give Rousseau the holiday he deserved." This technique in Bato Lavoir was one of the key moments in the history of the development of modern painting: it was there that two generations of artists met, thanks to whom new art was born.
Vasiliy Kandinskiy(1866–1944)- Abstract Art
Russian-born French painter and art theorist. In the 20th century, when the artistic and cultural environment was quite hot, Kandinsky was one of the first to shine the sparks. He became an important theorist and painter who played an active role with his theories and practices.
Kandinsky was born in Moscow in 1866. In 1886, he began studying law and economics at Moscow University. Three years later he participated in an ethnographic trip to Vologda, after which he wrote an article on Russian Folk Art. The effect of this experience on Kandinsky can be easily seen in his early paintings, Song of Volga, Couple Riding, Colorful Life. These paintings are constructed with light and light forms on the composition dark. st. Traveling to St. Petersburg and Paris, Kandinsky decided to abandon his career in law in 1896 and become a painter. He knew German well and moved to Munich, where former Russian nationalists mostly lived. Between 1900 and 1908, the Moscow Artists Union held exhibitions with him. On the other hand, he entered the Munich art scene and his name began to appear in exhibitions. After studying at local art schools, he founded the Phalanx artists group. He was a talented artist in every way, and later became the teacher of the Phalanx group, of which he was a student. The word Phalanx, a concept used by the French philosopher Charles Fourier (1772-1837) for the utopian society he created, took its place in the history of art as a name given to a group of artists who aimed to expand the possibilities of artists to open exhibitions by Kandinski and his friends in 1901. The formation played an active role in the Munich art scene until 1904.
Gabriele Münter, with whom she lived for 10 years, attended the Phalanx school, where men and women were treated equally because women were not admitted to public schools at that time. He met Kandinsky in the Phalanx and became his student. This was followed by their togetherness and the love they lived.
In 1904, Kandinsky and Münter embarked on a 4-year trip to Venice, Tunis, Holland, France and Russia. During their travels, they studied the art approaches of impressionists such as Van Gogh, Gauguin and Monet. In 1908 they returned to Munich and settled down.
Kandinsky began his famous improvisations in 1909. In 1911, Kandinskiy broke with Münter and other friends from the traditional artists' association in Munich and formed Der Blaue Reiter (The Blue Rider). After two short years, this new group, under the leadership of Kandinskiy, had already gathered around it important creators of the time such as Matisse, Picasso, Delauney and Klee. Der Blaue Reiter served as a guide for abstract painting, realism movements, primitive arts and childlike drawings, including music, theater and scientific fields for the new period. Thus, Munich became an important art center in the world.
Kandinsky developed his approach in the book On the Mentalism in Art, published in 1912. For Kandinsky, art is the depiction of spiritual values. Although each branch of art differs from each other in terms of its external structure, the common point they meet is that they strive for an internal purpose that can purify and activate the human spirit.
When the war broke out in 1914, Kandinsky returned to Russia and married Nina Andrevskaya. Gabriele Münter remained in Munich.
In 1920, he was commissioned to prepare a pedagogical program for the Institute of Artistic Culture, which included suprematism, Vladimir Tatlin's (1885-1953) 'The Culture of Materials', constructivism and his own theories. She waited for this work to be put into effect until 1922, when she was to be included in the teaching staff at the Bauhaus. In 1921, he took an active part in RAKHN (Russian Academy of Aesthetics). A year later, he went to Germany and worked as an instructor at the Bauhaus School, which was closed by the Nazis in 1933. He participated in the first Russian Art Exhibition, Erste Russische Kunstausstellung, held in Berlin in 1922. In 1924, Feininger, together with Javlenski and Klee, formed the Blue Four (Blaue Vier). He taught at the Bauhaus until Hitler closed it in 1933.
He settled in Paris in 1933. He became a French citizen in 1939. He did many important works in France. Kandinsky died in Paris in 1944.
Ferdinand Victor Eugene Delacroix (1798-1863)
He is one of the most important Romantic painters of France. His work on the painter's expression, strong brushstrokes and the optical effects of colors influenced the Impressionists, and his passion for the exotic influenced the Symbolists. The French poet Baudelaire describes him as "the last great painter of the Renaissance and the first great painter of the modern period". Delacroix, who is a good lithographer as well as his painter, made lithographs of the works of William Shakespeare, Scottish writer Sir Walter Scott and German writer Johann Wolfgang von Goethe.
Although he brought the spirit of ancient artists such as Michelangelo and Rubens back to life with his works, he produced works that were very different from their works in terms of style. The French poet Baudelaire defines the painter's individualistic romantic approach as follows: "Delacroix is passionately attached to passion, but he painted passion in the coolest possible way." Delacroix is a follower of the art of the French painter Théodore Géricault and was greatly influenced by the English poet Byron. His oil painting Freedom Leading the People, painted in 1830, is considered one of the masterpieces of French painting.
He was born near Paris. His mother was a descendant of the famous furniture makers Oeben and Riesener. His father is statesman Charles Delacroix. However, it is also claimed that his real father was diplomat Talleyland, a family friend of C. Delacroix. E. Delacroix resembles Talleyland in physical appearance and character. Talleyland took care of him throughout his career as a painter.He started his painting education at the age of 18 at the National School of Fine Arts. He studied painting in neo-classical style from Pierre-Narcisse Guérin at this school. During these years, he read the works of authors such as Shakespeare, Byron, Scott. He also worked on cartoons while he was a student. He contracted malaria while painting to order in a church.
Although his early works were influenced by the Renaissance painter Raphael, he gradually adopted a more liberal style and was influenced by the Dutch painter Peter Paul Rubens' style for a while. Later, he began to be influenced by the French romantic painter Théodore Géricault, whom he met and befriended during his school years. Influenced by Gericault, his first major work -Dante's Boat- was exhibited in Paris in 1822, and was met with ridicule by both the public and the painting authorities. However, this work was purchased by the state and placed in the Luxembourg Gallery.
Throughout his life, Delacroix saw that his works were first met with a negative reaction and then fiercely defended and supported by some powerful and enlightened circles.He became very famous with his painting "Massacre on Chios (1824)", which he painted two years after Dante's Boat. This painting depicts the sick and dying Greek civilians massacred by the Turks in Chios. At that time, it was very common among the French to have sympathy for the Greeks who were fighting for independence against the Turks.
He influenced the Impressionist artists a lot. Renoir and Manet copied his paintings. Degas took Delacroix's portrait of Baron Schwiter and added it to his private collection. The modern artist Pablo Picasso has also interpreted Delacroix's works and has worked on his work called Algerian Women.
He painted portraits of the painter Baron Schwiter and the violinist Nicolò Paganini. He also made portraits of the composer Frédéric Chopin and the writer George Sand. This painting was divided into two after the death of the painter and the parts showing each individual were kept separately.
Carel Fabritius (1622-1654)
At 10:30 am on October 12, 1654, the city of Delft, located in the west of the Netherlands, was shaken by a massive explosion. The city had not experienced such a disaster since the great fire of 1536. The explosion had taken place in the city's arsenal, and by the time it was over, much of Delft was destroyed, with many injured or killed. Among the dead was a young painter who was on his way to the top of his profession: Carel Fabritius.
He was in his own workshop with one of his students, Mathys Spoors, at the time of the explosion, perhaps working on a painting when the terrible hum, which he couldn't understand, filled the workshop. But the disaster that ended his life had destroyed this painting, which had not yet dried, and many others he had produced over the past ten years. Adding to his unfinished career his paintings, which were destroyed by the explosion, are about a dozen works left. However, even this is enough to give Carel Fabritius a respected place in the history of art. In addition, his influence shaped a school of painting in Delft, which included such names as Vermeer and Pieter de Hooch.
Carel Fabritius was born on 27 February 1622 in Middenbeemster. His father, a teacher in a village school, is also an amateur painter, and Carel took his first painting lessons from his father. It is known that he worked as a carpenter with his brother Barent before the 1640s. He used his surname, which was also used by his father from time to time, from the Latin word faber, which means manual worker and mostly describing jewelers, construction workers and carpenters, since 1641. However, carpentry, which gives expression to his surname, was not a profession he would pursue later in his short life. While still working as a carpenter, he started working with a painter as a side job.
At the beginning of the 1640s, probably between 1641 and 43, Carel was in the workshop of the great master of the time, Rembrandt, with his brother Barent, so painting went beyond being a side job for him. It would not be wrong to say that the main factor in the two brothers' inclination towards painting in such a consistent way was their father, who was an amateur painter. Fabritius, who draws attention as the most talented and successful student of Rembrandt, adopted a style that reflects the influence of his master in his early works. What particularly impresses him is Rembrandt's sophisticated method of defining form by the variation of light tones, and his meticulousness in imparting the texture of objects. The earliest known painting, The Resurrection of Lazarus (c. 1643), now in the Warsaw National Museum, reveals Rembrandt influences.
The 1640s is a decade in which Fabritius completed his education, as well as one of the most important painters of 17th century Dutch painting, and furthermore, one of the most important painters in the history of art, and then began to become active as a painter. In 1650 he settled in the city of Delft and lived first in Oude Delft, then moved to his workshop on Doelenstraat, near the municipal arsenal. As a gifted student of Rembrandt, he soon rose to the position of a commissioned painter in the city. In 1652 he was registered with the painters' guild (the guild of saint Luke) of Delft. Fabritius achieved his first fame with his murals in which he used an illusory perspective.
Another painting of the artist, dated to 1654, is the Self-Portrait, which is in the National Gallery in London today. The artist must have studied himself in the mirror. The figure ¾ placed in front of the sky, a harbinger of a storm, is from the front. He is wearing a military suit. According to some researchers, this garment, complete with a metal belt extending from the shoulder and a fur hat, means being ready to defend the hard-won independence of the homeland. In the 1620s and 1630s, Rembrandt also worked on self-portraits in this style. On the other hand, the quality of this garment, which does not belong to the fashion of any time period, gives the person who is portrayed with it an air of a hero beyond time. Perhaps preferred only as a sign of vanity, military clothing is an extension of the tradition of painting in fictitious costumes. His unshaven face and messy hair contrast with this military outfit. This self-portrait, which should have been taken shortly before the explosion, almost foretells the artist's unfortunate fate in the near future, with the dark, cloudy sky in the background.
Gustave Courbet (1819-1877)
“I always hope to earn my living with my own art, without ever deviating from my principles, without lying to my conscience for a moment, without painting an inch of canvas to please someone or to sell it easily”. These statements of Courbet; Today, it has acquired a secure position in the art scene, on the other hand, produces a large number of ordinary works that are not the product of a sincere emotional and mental concentration or simply due to inadequacy, and the ostentatious, repetitive and literary-philosophical platitudes that are equipped with empty praises in the writings. but when many of our artists bragging about in costumes that don't fit them come to mind, it must be an example lesson. In fact, there is no artist who would not stand by what Courbet had to say. But Courbet stuffed what he said with his experiences, made it meaningful, and did not stay in words, as many fifth-grade artists do. For this reason, Courbet has a privileged place in the history of art as an ideal artist model. Courbet; He is a true artist whose life and art, what he says and does do not contradict each other, who fights for his beliefs and does not bow before anything. It questioned the rules, broke the stereotypes and paved the way for the new.
***Artist's Workshop***
Finally, in 1840, at the age of 21, he went to Paris. He started his law education at the request of his father, but is actually in this city to try his luck as a painter. After a short time, he gave himself up completely to painting and left his law education. He started attending workshops in Paris and attended copy sessions at the Louvre. In the Louvre, he made copies of the works of Delacroix and Gericault, especially the masters of German, Flemish, Venetian and Spanish painting. Among the artists he admires is Caravaggio. His early works, which show influences of Romanticism, make him no more than an ordinary painter. On the other hand, his first years in Paris gain importance as a period in which his art and artistic personality are shaped. His studies on old masters shaped his style. In particular, the use of the contrast between light and shadow by artists such as Zurbaran and Caravaggio, and the realistic and direct expressions in their paintings coincide with Courbet's understanding of art. In addition, the French romantic painting, from which he came, was decisive in his art. In particular, the texture effects provided by the brush movements of British romantic artists such as Constable, who deeply influenced the French romantics, were reflected in their works. The first years Courbet was in Paris was also a period when photography emerged and the first developments in this field came to the fore. The art of painting is at an early stage of seeking to position itself in the face of this new technique and development. Photograph; It not only encouraged the art of painting to face a new reality, but also provided it with new possibilities and perspectives. Meanwhile, the artist regularly visits Ornans every year and makes some trips abroad. His visit to the Netherlands in 1847 was influential on him. The bohemian life he led and the friendships established with writers and thinkers such as Baudelaire, Prudhon and Champfleury, whom he met during this time, matured his view of art. Especially with the influence of Proudhon, he got closer to socialist thought.
Socialist ideas began to spread in the 1840s among the Republicans, who reacted strongly to the interruption of the 1830 July Revolution, which provided a limited expansion in political freedoms. On the one hand, with the influence of the literary circles, a strong sympathy for the Great Revolution was developing in the new generations, on the other hand, the economic depression conditions following the bad harvest in 1846 and the corruption of the ruling class caused discontent among the people, which resulted in the Second Republic period, which would be valid between 1848-1852. caused the uprising.
However, his uncompromising attitude, which is reflected in his paintings, will lead to more unpleasant events when he moves to an area related to the political life of France. In 1870, together with Daumier, he refused the Légion d'Honneur order, III. When Napoleon was overthrown, he was appointed as the head of the Art Union of the Paris Commune, which was founded in 1871. Although he resigned from his post by not participating in the extreme behavior of the Commune, he was arrested and fined after the Commune was overthrown on the grounds that he had a hand in the destruction of the Vendôme Column, which glorified the victories of Napoleon I.
The artist fled to Switzerland in 1873 to escape this punishment. Here he ran a large workshop producing landscapes and died while in exile on the last day of 1877.
Gustave Courbet, one of the founders of realism, one of the most important art movements of the 19th century, should be remembered as the pioneer of modern painting with his rebellious attitude as an artist and his style and subject approach in his art.
Pierre Aguste Renoir (1841-1919)
He was born in Limoges, France. The family moved to Paris when Renoir was young. He was apprenticed to a porcelain painter at the age of fourteen and was engaged in this business until 1858. During these years, he gained experience in light and bright color. He spent seventeen years painting the great painters on fans, chandeliers and curtains. In 1862 he entered the studio of Marc-Gabriel-Charles Gleyer, a student of Ingres's, and formed lasting friendships with a group of painters who would become Impressionists, Monet, Sisley, and Bazzile. . However, apart from these artists, who at that time mocked the "sublime styles" of the classical, Renoir attached great importance to these masters and carefully studied their paintings.
Renoir led a poor life. Together with Monet, who was penniless like himself, they set up their easels on the banks of the Seine (the origin of Impressionism). The paintings of these two painters were so similar that forty years later, when they looked at the paintings of this period, Monet would not be able to tell which one belonged to him. They used the same brushstrokes and the same bee colors.
Renoir was impressed by Monet's use of light, but he painted human depictions rather than nature like Monet. Another person influenced by the artist was Delacroix. Renoir was particularly impressed by its colours. While these studies were going on, Renoir started to take painting and anatomy lessons at the Academy of Fine Arts with the money he had saved. But he never liked the academic point of view. On the other hand, he did not fail to take the basic knowledge and discipline that he gave him to become a painter. During this period, Raphael, Titian, and Rubens were painters he always admired and studied carefully. The place where he lived reflected a cultural milieu of typical 18th century philosophy. The moral structure of a period when the middle class enjoyed life was also evident in Renoir's paintings. Especially in his youth, the artist reflected the joy, happiness and slackness of this mood in his paintings. His first success was with the painting "Esmeralda Dancing With Her Deer Around the Fire". In 1864, this painting was exhibited in Paris, at the Salon, the official exhibition palace of France. But for some unknown reason, Renoir destroyed this painting after the exhibition. This caused it to be rejected at the 1866 exhibition. However, in the following years, his paintings began to be accepted on a regular basis.
Although he began to have success as a portrait painter in 1870, it did not become an economic success for a long time. On the contrary, the artist often had to eat his paintings and exchange them for supplies. By 1873, Salon again rejected the artist's paintings because of the way he used colors. The following year, Renoir, Monet and other artists attempted to organize a new exhibition to be used with this exhibition. A year later, a new exhibition opened outside the Salon in the spring. This exhibition, which was the first exhibition of the Impressionists, did not make them feel pessimistic, although it did not satisfy them. The following year, however, at the exhibition, the audience became so aggressive during an auction that the police eventually had to intervene. This aggression, unfortunately, did not happen because of who first snatched the pictures. On the contrary, according to one critic, one had to "stand fifty feet away and squint" to be able to look at these pictures.
Renoir had an accommodating personality. After reapplying to the Salon in 1878, he began to distance himself from the Impressionists. He was largely relieved of monetary concerns when, in 1881, a merchant began to purchase his paintings regularly. The following year, he openly said that he wanted to get away from the revolutionary appearance that he said scared him. When he came to these years, Renoir now saw himself as "as far as Impressionism can take" and he no longer found the "visual" side of this movement to be satisfactory and thought that it was "a dead end". This separation could not be explained only by the accommodating personality.
The main reason why he moved away from the Impressionists was his trip to Italy. During this journey he discovered the great Italian oil painters. This strengthened his criticism of Impressionism. When he returned, he decided to strive to achieve a greater unity in his paintings.
Among the painters he admired at the time were Courbert, Watteau, and Fragonard, and what set him apart from the Impressionists was “the thought that it would be very useful to study the paintings of the great masters still in the museum. For Impressionists tended to reject the past and the classical. The Impressionists reflected the classical 18th century morality and argued that it was on the way for the better. But Renoir believed that evil could also enter the picture, and that what happened happened in narrowness. So he had a pessimistic attitude. The artist, who came to the conclusion that "there is nothing but the classic" in time, believed that an artist, no matter how skilled he was, always had a lot of new things to learn. The work that shows this change is the painting called Umbrellas. Umbrellas that show the artist's change.
In the 1880s, it is seen that Renoir gradually moved away from the light colors of Impressionism. At the same time, during this period, he intensely attempted to paint young girls in obscure environments. As his style became masterful and simple, he turned to mythological themes and his preferred woman type matured and grew. Renoir preferred French masters over Richard Wagner, who was considered one of the greatest composers of the time. In 1887 he completed a series of nude paintings known as The Bathers. In 1897, the family moved to Cagnes, near Nice, shortly after the artist fell ill with rheumatism. In the following years, Renoir's rheumatism weakened him further, and from 1903 he had to live in the heat of southern France.
By 1912 his rheumatism had progressed so much that he could no longer walk without an armchair. Despite this, he was determined to continue painting until the last days of his life. He thought that every piece of beauty he added to history was snow. Lately he has been tying a brush between his fingers, working on his paintings that way. During this period, he also took up sculpture, and since he could not afford it, he managed the assistants he had with him and used their hands as his own. His wife died in 1915, exhausted from caring for their injured son in World War I. He died four years later.
Frederick Arthur Bridgman (1847-1928)
Frederick Arthur Bridgman (November 10, 1847 – January 13, 1928) was an American orientalist painter born in Tuskegee, Alabama.
Bridgman, the son of a South American doctor father, became one of the most famous and famous painters in America and a world-renowned orientalist painter. He began his career as a draftsman at the American Bank Note Company in New York from 1864-1865. In the same years, he continued his artistic studies at the Brooklyn Art Association and the National Academy of Design. He went to Paris in 1866 and became a student and right-hand man of Jean-Léon Gérôme. His trip to Egypt in 1873-74 inspired him about the 'East' and this trip took him to another point in Bridgman's painting career. Throughout his later life, Bridgman made ornate paintings with oriental details in his works. His work “The Funeral Procession of a Mummy on the Nile” was received by James Gordon Bennett at the Paris Salon in 1877 and was remembered as one of his most important works that brought him the Cross of Honor. Other paintings acquired by J. G. Bennet are An American Circus in Normandy, Procession of the Bull Apis (now at the Corcoran Art Gallery in Washington) and Rumanian Lady (in the Temple Collection in Philadelphia, Pennsylvania).
When Bridgman entered the studio in 1867, he was influenced by the delicate draughtsmanship and smooth lines of the academic-painter Jean-Léon Gérôme (1824-1904), during which he worked particularly on Middle-Eastern-themed compositions. (In fact, Bridgman would be known as America's Gerome.) Although Bridgman was influenced by Gerome, he would catch a natural aesthetic harmony with his works, which he emphasized with masterful brushstrokes and bright colors, away from imitation.
Bridgman made his first North African trip between 1872 and 74, splitting his time between Algeria and Egypt. The approximately three hundred pencil drawings he collected there later became the material for several oil paintings. Bridgman, who made additional visits to the region during the 1870s and 80s, obtained permission to collect architectural pieces, objects, costumes and created a large collection. He frequently depicted these objects that make up his collection in his paintings.
Although Bridgman formed a lifelong bond with France, she never lost her popularity in America.
One of Bridgman's most famous Orientalist works, "A street scene in Algeria", is of great importance to his career and personal history, and is rare and exclusive. Many of the details in his works are motifs that can be considered his signature, and the subject can be considered from his travel records. In the 1880s, Bridgman focused on intimate, internal and local subjects in accordance with his personal painting trend, and did not hesitate to place two male figures, for example, sitting and chatting with each other, at the center of the composition.
Recently, the famous artist's works have been sold at auctions for between $250,000 and $350,000.
Edgar Degas (1834-1917)
Degas describes himself as "the classical painter of modern life". Thus, he distinguishes himself from the Impressionists, although he is closely associated with them and appears frequently in their exhibitions. With this. Unlike his Impressionist friends, he categorically refused to paint outdoors, emphasizing composition and drawing, which they overlooked or underestimated for the sake of color and tone. "... A painting should, first of all, be the product of the artist's imagination. It should never be a copy (Degas shares the same view with Delacroix and Baudelaire here). It does not hurt much when reinforced with a few emphases from nature. Imagination and memory work together in the transformation (transformation) that occurs when an object seen in nature is transferred to canvas in this way. Thus, the artist paints what affects him. That is what he really needs to do". It is quite surprising that Degas, who expressed his ideas and aims about art in this way, participated in seven of the eight Impressionist exhibitions (he did not exhibit any work in the seventh) and was in close contact with the Impressionist group. Unlike Edouard Manet, who was persuaded by Claude Monet to paint outdoors in the 1870s; Except for a few landscape paintings, he refused to paint outdoors throughout his life.
Degas had a classical and traditional education. At school he studied the Classics and in 1854 became a disciple of Ingres, a student of the painter Lamothe; The following year, he started his education at the Fine Arts School. He studied at the Louvre by copying the old masters; He went to Italy twice, in 1856 and 1858. In the first years of his artistic life, he made only historical paintings and portraits, following the tradition; however, even at this time, his striking compositional arrangements gave a great example of creativity with his sensitivity to rhythm and balance. Degas also made a lot of drawings, and when Paul Valery asked him what he wanted to convey with these drawings, he replied: "Drawing is not just about form; form of drawing is our way of seeing".
With these words, Degas states that the real classical understanding in art does not mean limitations; it does not limit the freedom of forms either; on the contrary, he wants to convey that he gives complete freedom to the forms so that they can live and find their true meaning. Throughout this period, the artist's colors are conspicuous and his paintings give the impression of a fresco with their rhythmic fluency. Among his best works from this period are Portrait of the Bellelli Family (1860-62), many Self-Portraits and family paintings, notably Mme. Edouard Morbilli can be counted.
Among his historical paintings, the Spartan Girls Provoking the Boys to War (1860), Semiramis BabiVin Builds the Hanging Gardens (Hall, 1861), The New Orleans Disaster (Hall 1865) are important. The Louvre Drawing section has a wonderful collection of the artist's work for his last two paintings. These paintings, mostly made in pencil, consisting of nude women and groups and figures of patterns, are among the beautiful drawings that can hardly be found in the world. The purity and clever inventions in the drawing, the realism and elegance of the curves, the brush strokes, the ingenious line variations make the drawings in this collection indisputable masterpieces.
Until the end of his life, he continued to make compositions that had an extraordinarily striking effect on both paper and canvas, with the center of gravity moving away from the centre. In many of his works, Degas went so far as to remove a part of the model's body or face; thus, he left the task of taking the picture out of its frame, in other words, the visualization of the invisible parts before the eyes, to the imagination of the audience or the artist.
Continuing his research and experiments during this transition period between 1865 and 1877, Degas produced the following works: The Woman with Chrysanthemums (1865), Mademoiselle Fiocre in the Ballet of La Source (1868), Portrait of Madame Camus (1870), The Cotton Trader's Office, New Orleans (1873), The Embodiments (1874), At Madame Fevre Singing Rehearsal (1873), Apsent Drinkers (1876), Cafe des Ambassadeurs (1876-1877), Women in the Afternoon Coffee (1877), and Singer with Gloves (1878). Like all Impressionists, Degas loved the sea and the seashore.
However, he never painted outdoors. The composition interested him more than the subject of the painting. Examples of this are his paintings Sea Bath (1876-77) and By the Sea (Pastel, 1869).
Alberto Giacometti (1901-1966)
Alberto Giacometti was born on 10 October 1901 in the Town of Stampa in Canton Grigioni. His father, painter Giovanni Giacometti; His mother is Annetta Stampa. Alberto is the eldest of four siblings – Diego, Ottilia, Bruno.
The artist's childhood was spent in the small village of Val Bregaglia, among tall and thin pine trees, stones, friends and brightly colored paintings. Alberto learned his trade at a young age and in 1913 he painted his first oil painting "Apples on the Table", and a year later he created his first sculpture "Diego's Head".
Giacometti took the motifs of his paintings from fairy tales, family scenes, soldiers and horses in those years. In his later years he made portraits and landscapes of real family and friends.
Entering Schiers College in 1915, Giacometti studied there until 1919. However, in the meantime, he did not leave his painting studies aside and made various paintings. After completing his education in college, he attended the School of Arts and Crafts in Geneva for a short time. He went to Italy in 1920. Despite all his knowledge of painting and painters, he was stunned by the art of Tintoretti in Venice, Giotto in Padova, and Cimabue in Assisi. The artist, who settled next to his relatives in Rome, wandered around the city from morning to night, discovering new landscapes for his works.
The artist returned to Paris after a while. On January 1, 1922, he enrolled in the sculpture courses of the Grande-Chaumière Academy and attended Bourdelle's class. Meanwhile, the artist was living on the small amount of money his father sent him and was working in a hotel after leaving the Academy.
He opened his first workshop in 1925. Two years later he transferred his workshop to Hippolyte Maindron Street. He went to Lipchitz occasionally during this period. The artist went to many museums and galleries to study cubist art, often with archaic or primitive art.
Giacometti's foray into the French cultural and artistic life begins in 1928, when he exhibited two sculptures - a head and a figure - in Madam Bucher's gallery. These two works of the artist were met with great interest by collectors and other artists. A few months later he met surrealists such as Masson, Leiris and Desnos, Limbour, Miro, Calder. Having not sold any of his works yet, the artist received offers from three places and eventually signed a one-year deal with Pierre Loeb's Gallery. Here he exhibited his works with Miro and Arp. After a while, he left the gallery for some reason and started to earn money by making ornaments with his brother Diego.
Meanwhile, Giacometti's works caught the attention of the surrealists and they invited him to their group. The artist accepted this call and joined the group of surrealists and started working with Aragon, Breton, Eluard, Dali, Ernst. This union of artists lasted until 1935.
Between 1935 and 1945, two parts are seen in Giacometti's artistic life: he created works inspired by the model between the years 1935-40 and with his imagination in the years 1940-45. In the same years, he made friends with the modern realists Balthus, Gruber, and Derain.
During the War, the artist remained in Paris until 1942 and spent his days with Picasso and Sartre. A truly great friendship arose between Giacometti and Sartre. He returned to Switzerland between 1942-1945 and settled in Geneva, where he used to go every summer in previous years. Here he met a young girl named Annette Arm and married in 1949.
After the war ended, the artist returned to Paris and started to work intensively. After ten years of study and experimentation, Giacommetti got the view he wanted. The artist's works were known in all art circles of the world such as Paris, New York, Milan, London, and Zurich, and were met with great interest. In 1962, he won the grand prize at the Venice International Painting and Sculpture Exhibition, which is held every two years. The New York Guggenheim award he received just one year later, in 1963, was the proof of the artist's achievements.
Despite gaining such a reputation, Giacometti did not give up on his own traditions. He continued to live and work in his small workshop on H. Maindron Street, devoting his afternoons to his sculptures, his nights to his paintings, and his evenings to his friends. His friends like Sartre, Genet, Leiris or Yanaihara are his models; Like Caroline, his model was befriending him.
The artist, who made frequent trips to Stampa, the town where he was born in the last years of his life, passed away in 1966.
Euclid (330-275BC)
Euclid of Alexandria (lived around 300 BC) organized Ancient Greek and Near Eastern mathematics and geometry. He wrote The Elements, the most widely used mathematics and geometry textbook in history. Older books sometimes confuse him with Euclid of Megara. Modern economics is referred to as a series of footnotes to Adam Smith, author of The Wealth of Nations (1776 AD). Similarly, much of Western mathematics consists of a series of footnotes that either develop or test Euclid's ideas.
***Euclid's Life***
Almost nothing is known about Euclid's life. He ran his own school in Alexandria, Egypt, around 300 BC. We do not know the places or the years when he was born and died. Euclid seems to have written a dozen or so books, many of which are now lost.
The Athenian philosopher Proclus (412-485 AD), who lived seven hundred years after Euclid, provides undeniable proofs of what Euclid "assembled the Elements, collected many of Eudoxus' theorems, perfected many of Theaetetus's, and cursorily proved by his predecessors." states "bring it". The scholar Stobaeus lived at roughly the same time as Proclus. Stobaeus collected Greek manuscripts that were in danger of being lost. He tells a story about Euclid that seems to be true.
**Someone who started studying geometry said to Euclid, 'These**
**What can I gain by learning?' he asked. Euclid**
**He called his slave and said to him, 'Give him some money.**
**give, because he has to derive something from what he has learned.'**
**(Health, 1981, loc.8625)**
*Pre-Euclidean Geometry*
In his Elements, Euclid collected, organized, and proved the ideas of geometry that were already being used as applied techniques. Except for some Greek precursors such as Euclid and Thales (624-548 BC), Hippocrates (470-410 BC), Theaetetus (417-369 BC), Eudoxus (408-355 BC), hardly anyone knows why ideas are true or whether they apply to the general public. Didn't try to solve it. Thales even became famous in Egypt for seeing the mathematical principles behind the rules of some particular problems and then applying those principles to other problems, such as determining the length of pyramids.
The ancient Egyptians had a serious knowledge of geometry, but this knowledge consisted of applied methods based on testing and experience. For example, to calculate the area of a circle, they made a square whose length is eight divided by nine of the diameter of the circle. The area of this square was close enough to the area of the circle that they could not detect a difference. Their method took the value of pi as 3.16, a bit far from the true value of 3.14... but close enough for simple engineering. Much of what we know about ancient Egyptian mathematics comes from the Rhind papyrus, which was discovered in the mid-19th century and is now kept in the British Museum.
The ancient Babylonians also knew a lot about applied mathematics, including the Pythagorean theorem. During archaeological excavations at Nineveh, clay tablets with triple numbers of 3-4-5, 5-12-13 and relatively larger numbers conforming to the Pythagorean theorem were discovered. As of 2006, about 960 tablets have been deciphered.
elements
Euclid was not the first to come up with many of the ideas in The Elements. His contributions were fourfold:
He collected important mathematical and geometric information in a single book. Elements was a textbook rather than a reference book, so it does not contain everything that is known.
Euclid; He gave definitions, postulates and axioms. He called the axioms "common ideas".
He presented geometry as an axiomatic system: every statement was either an axiom, a postulate, or a statement proved by clear logical steps from axioms and postulates.
He presented his own original discoveries, such as presenting the first known proof of the infinite number of prime numbers.
Elements consists of 13 subsections divided into 3 main sections: (often each section is called a "book").
Chapter 1-6: Plane geometry
Chapter 7-10: Arithmetic and number theory
Chapter 11-13: Solid geometry
Each chapter begins with definitions. Part 1 specifically includes postulates and "consensus" (axioms). Examples are:
Definition: "A point is something that has no parts."
Postulate: "To draw a straight line from any point to any other point" (This is Euclid's way of saying that a straight line exists.)
Common sense: "Things that are equal to the same thing are also equal to each other."
If the ideas seem obvious, here's what needs to be done. He wanted to build Euclidean geometry on ideas so clear that no one could logically doubt it. From his definitions, postulates, and common ideas, Euclid deduces the rest of geometry. Its geometry defines the normal space we see around us. Modern 'non-Euclidean' geometry describes space at near-light speeds or astronomical distances bent by gravity.
Plato (427-347 BC)
Plato (428/427 BC - 348/347 BC) is a Greek philosopher, known for his Dialogues and regarded as the first university in the Western world in the traditional sense, and founded the Academy in the north of Athens, regarded as a pioneer. Plato, whose birth name is Aristocles, is the son of Ariston from the town of Kolitus (Colytus). Plato had two older brothers (Adimentes and Glaukon), known for their roles in the Republic, and a sister, Potone. According to Diogenes Laertius, he was given the nickname "Plato" by his wrestling trainer because of his broad shoulders ("Plato" means broad in Greek). His family was aristocratic and well-connected politically, and Plato was apparently expected to pursue a career in politics as well. His interests were mostly in the field of art, and he wrote plays, maybe even poetry, in his youth. In his late teens or early twenties, he heard Socrates teaching in the market and gave up on a literary career as a playwright; He burned his early works and devoted himself to philosophy.
It is probable that Plato had known Socrates since his youth, at least given the fame he spread. The Athenian politician Critias was a cousin of Plato's mother and studied with Socrates as a young man. It is therefore suggested that Socrates was a regular visitor of Plato's family. In addition, it is assumed by the ancient writers that Socrates had no influence on Plato until his twenties. Diogenes Laertius (200 AD) was about to compete for an award on tragedies in Plato's theater of Bacchus: “Hearing Socrates' speech, he said, 'Vulcan, come here; He writes that he burned his poems saying 'Plato asks for your help' and from now on, now that he is twenty years old, he is a student of Socrates”. While nothing is clearly known about Plato's actions for the next eight years, he worked in the retinue of the elderly philosopher until his trial and execution for impiety in 399 BC.
The execution of Socrates was a major blow to the 28-year-old Plato, after which he left Athens for travel. He visited Egypt and Italy, among other places, before returning to his hometown to establish the Academy and write his Dialogues. His Dialogues almost entirely present Socrates as the main character, but whether he accurately portrayed Socrates' actions and beliefs in this section has long been disputed. Plato's contemporary, the Phaedo (Phaedo) - one of Socrates' students - (also known for naming Plato's dialogue) argued that Plato placed his own ideas in Socrates' mouth and created the dramatic situations of his dialogues.
Plato's Dialogues is about the search for truth in the universal sense and the understanding of what is good. Plato stated that there is only one universal truth that human beings need to know and strive to live accordingly. This truth he asserted was embodied in the Realm of Forms. Plato's Theory of Forms, in simple terms, reveals that there is a higher realm of truth and that the perceived world of the senses is only a reflection of the supreme. When someone sees a horse, then he considers the horse beautiful. That one expresses how similar the certain horse on earth is to the "Form of Beauty" in the realm of forms. To realize the "Form of Beauty", one must understand that the perceived world is only an illusion or reflection; other than that, what he calls "beautiful" on earth is not beautiful in itself, but to the extent that it participates in the "Form of Beauty" (an even more concept is explored in the famous "Cave Description" in Plato's Republic, Book VII). Therefore, the ancient saying "Beauty is in the eye of the beholder" is completely unacceptable to Plato.
While Aristotle disagreed with other aspects of Plato's theory of forms and philosophy, he was deeply influenced by his teaching; in particular, he was also impressed by his insistence on a right way of life and the appropriate method he put forward for following one's way of life (as Aristotle makes clear in his Ethics to the Nicomachus). Aristotle had tutored Alexander the Great, and by doing so he helped spread the philosophy that Plato created in the world. Plato died in 348/7 BC at the age of eighty, and the administration of the Academy passed to his nephew Speusippus. Tradition, Academy; It shows that pagan thought continued as a guide in higher education for about a thousand years until it was shut down by the Christian Emperor Justinian in 529 to suppress heresy. Ancient sources, however, determined that in 88 BC the Academy was severely damaged in the First Mithridatic War and was almost completely destroyed in 86 BC when the Roman Emperor Sulla captured Athens.
Pablo Picasso (1881-1973)
Spanish painter, pattern maker, engraver and sculptor... The artist, who showed his genius at a young age and showed a very long-lasting creativity, was born in the XX. century with his innovations and quests that remained consistent even though he changed form to form. completely influenced his art. He changed the city and workshop many times during his life.
After completing his academic education, Picasso discovered a side of medieval art, the works of some painters. By emphasizing the psychological content of the work, he benefited from various equivalences in the expression: blue symbolized material and spiritual collapse (blue period), and pink reminded the life of acrobats (pink period). However, in 1904, a wide-ranging change occurred in his art: in the origin of the innovation seen in his style and subjects starting from 1907-07, encounters with artists or their works. As a result of this, a convoluted and innovative understanding emerged, which became more evident by the division of objects into angular parts and distinguished by geometry; this understanding came to Cubism.
In figures and still lifes, fragmentation of volumes is observed; this fragmentation provides a structure in planes and allows a holistic view that will soon push the limits of abstraction (colors are reduced to shades of brown and gray, shapes are reduced to a few signs).
Starting from 1911, new solutions are brought to the problem of relating to reality, such as inserting numbers, letters or words into the picture space, and then integrating real elements such as newspaper or wallpaper pieces, tree or wicker imitations with the picture. Until the end of the war, he proposes a synthetic approach to the objects frequently used in the Cubist form repertoire, with various elements he used. However, with the end of the war, the ballet costumes and decorations were also included in this work, and the artist turned to a traditionally inspired, retrospective and monumental-looking painting. However, far from forgetting the Cubist experiences, he realized their numerous, even contradictory extensions, the fragmentation of forms enabling, under the surrealistic influence, a tumultuous synthesis of planes as well as a brutal play with monumental volumes; This stylization is seen, on the one hand, in the semi-abstract iron constructions he made starting from 1928-29, and on the other hand, in the female heads and busts of 1932-33.
During the war years, deformations on objects and faces become more evident, faces gain an anxious, tragic expression or become out of time with the help of classical production techniques. This period ends when the artist regains a certain calmness since 1944. And after that, Picasso diversifies his essays; sculptures made by combining ordinary objects or geometric elements, cut and dyed hair, many patterns and engravings, pottery and ceramic works
In the field of painting, he explores the diversity of plastic language with the contributions he has made from the works of himself or his contemporaries; he questions the great works of the past and takes this questioning directly as an excuse for his variations on painting, and therefore on both creativity and the painter and woman Can an audience ever hear my painting as I do? How far does a painting come to me? Who knows how far it came? I have sensed it, I have seen it, I have done it, yet I myself did not understand what I was doing the next day. How can it enter my dreams, instincts, wishes, thoughts? All this has been prepared after a long time, has come to light. Especially after my efforts to catch them, perhaps against my will, who can get into it? Everyone wants to understand the picture. Why don't they try to understand the song of the birds? Why is the night, the flower, everything that surrounds the person loved without trying to be understood? But when it comes to painting, they want to understand. Let them understand that the artist works because it is necessary. The artist should not be given more importance than the importance given to many things in nature that we do not feel the need to explain but that fascinate us, because he is one of the smallest members of the world. Those who try to explain a painting often go astray. Some time ago someone cheerfully said that they understood what my painting wanted to show. According to him, there were three musicians in the painting. It was a still life!
A painting he looked at at the Exhibition of a Lady; "Oh my master, this doesn't look like any fish, for God's sake," he says. Picasso on the other hand; Responding by saying, "You are right, ma'am, it is not a fish, it is a painting."
The Genius: Leonardo Da Vinci (1452-1519)
After the beginning of the 15th century, that is, from Massacio to Botticelli, Italy became the cradle of famous painters. But one of them eclipsed them all with her divine beauty, terrible intelligence, extraordinary determination to work. He said goodbye to the mortal world at the end of his life, which was always spent learning new things, giving direction to aesthetic rules according to his own opinion, solving the secrets of other worlds, and uncovering the unknown parts of the realm he was in, before he could fully reach his goal. This great genius was Leonardo da Vinci.
Leonardo was born on April 15, 1452, in the village of Anchiano, in the town of Vinci, in Tuscany, as the illegitimate children of Ser Piero da Vinci and a village belle named Caterina. His father, who was actually the son of a Florentine person, was a modest notary public. Ser Piero's business was in Florence. Thus, Leonardo spent his childhood and youth in his father's house. He was moving from one branch to another at a young age, and he was interested in all kinds of things.
He embraced the science of mathematics and geometry so much that he built his masterpiece, which he gave as a gift to the world of painting, on this inaccessible geometry foundation. Meanwhile, he was also enthusiastic about music. He learned to play various instruments. With his sparkling voice, he sang the most heartfelt songs and even composed beautiful compositions. Later, the same voice will almost enchant the Sforza's palace in Milan. Leonardo, meanwhile, was also painting. In fact, it was the job he liked the most. One day, his father, Ser Piero, went to his friend Verrocchip's workshop, taking a few pictures of him without letting his son notice. Andrea del Verrocchio, Donatello's student and the most famous painting teacher of the time, was so fascinated by these scribbles that he begged Piero to send his son to him. Leonardo was then 15 years old. When Leonardo apprenticed to his famous teacher, Verrocchio was busy making the great work The Baptism of Christ. The first job Leonardo was given was to draw an angel in the upper left corner of this giant painting. The boy climbed the ladder and, struggling until evening, drew and painted the angel and went down. The enormous painting, dominated by dark, gloomy colors, seemed to melt next to the bright colors of this tiny angel. Andrea del Verrocchio embraced Leonardo and kissed him on the forehead, bowing in reverence to his extraordinary talent. According to this situation, it was as if the master and the apprentice were swapping places. Leonardo found his true vocation by himself. He stayed with his Master for four years. He was painting from morning to evening without resting, and returning home after sunset, he devoted himself to books, dealing with geometry, physics and philosophy until the sun came up.
Mona Lisa... She had just set foot in Florence when a person named Francesco del Giocondo visited him and asked him to paint a portrait of his wife, Mona Lisa. Leonardo struggled with this portrait for four years. In the end, he gave his greatest work, even one of the greatest masterpieces in the history of civilization. The expression on the face of Mona Lisa or La Gioconda can only be compared with the melancholy that Albrecht Dürer added to his works. In this painting, the mystical atmosphere of the Middle Ages, unique to the Greek goddesses, seems to be embraced. On the other hand, the human hand has not been able to put nature into art so faithfully until that time. The hair, the eyelids, the color of the skin, the upward curved mouth, in short, everything, this painting is the most perfect copy of nature. The obvious influences of his master Verocchio can be seen in the green, dull colors that dominate the painting, resembling strange cliffs in an underwater realm, seen behind the portrait. Although Leonardo was very different from his famous teacher in terms of style, the effect that remained subconscious for so long showed itself in this greatest work one day.
Leonardo wanted the young and beautiful woman to always be cheerful, in order to properly identify the « enigmatic smile » that he aimed for his portrait, and for this purpose, he invited musicians and actors to his workshop during the work. As Leonardo's greatest masterpiece, it attracts millions to Paris. During the years Leonardo was busy with the Mona Lisa, the enormous hall of the Palazzo della Signoria in Florence was remodeled for Senate meetings. A delegation of Giuliano da San Gallo, Cronaca, Mihelangelo and Bacio d'Angolo, under the supervision of the High Judge of Florence, restored it in the most magnificent way. At the request of Supreme Judge Piero Soderini, Leonardo was given the job of decorating it. Florence wanted to perpetuate this great son in this way. Da Vinci promptly accepted this offer and began decorating the meeting room with an enormous painting representing the Battle of Anghiari, which the Florentines won against the Pizzas in 1440. This painting, which shows a group of mounted warriors fighting each other for a banner, is a true masterpiece in terms of color, rhythm and artistic anatomy. No artist has ever been able to put horses in the picture in such a lively and lively manner. Biceps strength and extraordinary grace are combined most perfectly in this picture. It is said that Leonardo built an automatic scaffolding to work comfortably on the board. The scaffolding rises when pressed from the sides; It would also descend when withdrawn. On the other hand, when painting, the painting flowed as it was and was ruined because the brush did not work well, and because the paint was over-watered and rubbed heavily on the wall. Then he had to deal with the same subject all over again. But this too, like most of his works, was left unfinished.
In June 1519, St. He was buried in the Florentine Church. This church was later completely destroyed during the French Revolution. Leonardo is the first artist to bring the classical style to its peak in painting. Although he left a limited number of works in the field of painting, each of these paintings, which adorn the world museums today, is a separate masterpiece and an example of genius in its own right. Leonardo, on the other hand, became a solid bridge connecting the Middle Ages to the New Time as a naturalist and philosopher. Even trying to enter the world of science through experienced ways, he made the most intricate theories tangible and visible with terrifying lines. In short, Leonardo da Vinci is a divine power that not only the 15th century, but many centuries could not easily cultivate.
Michelangelo Buonarroti (1475-1564)
Michelangelo was born in 1475 in Florence, Italy. In his youth, like many other master artists, he apprenticed with a famous painter. During his apprenticeship, he learned all the intricacies of his profession by acquiring a solid technique in drawing. The escapism in his personality made him try to interpret and add innovation to the techniques of the time, instead of taking them as they were. Thus, he first cut a cadaver in order to learn about the muscular and nervous systems of the human body. He continued this investigation until the human figures were no longer mysterious to him. During that period, he took on many small businesses and, as his fame spread throughout the country, he was commissioned by the Pope for a church job. This church, which is the Sistine Church, has a great importance in his art career. Michelangelo, whose mastery is sculpture, was given the painting job of this church. Being overly emotional, Michelangelo was not very happy with this task given to him. But he agreed, saying 'duty is duty'. While his irritability continued, he began to seek help for this job. But he suddenly closed himself in the church and painted this church ceiling alone for four years, not letting anyone near him.
The fact that he completed this work with the power of a single body, which astonished the art world when his work was completed, is considered an extraordinary achievement even today. After this work, he returned to sculpture, which he loved so much, and produced many works that have survived to the present day during his long life. The movement in his works can be seen even in an ordinary resting posture. This is what he wanted to gain from his works of art; to give warm movements, life and tranquility from cold marble.
Being conscious of his social place, Michelangelo continued his modesty and reproachful attitude towards some of the works he had done in the past, saying to those who symbolized him as "Sculptor", "I am Michelangelo Buonarrati and a shop painter and sculptor. Even though I served the Popes, I was compelled to do this".
Versatility is one of the main features that distinguishes the Renaissance from other historical periods. As a matter of fact, one of the first names that come to mind when the Renaissance is mentioned, Michelangelo is not only a good sculptor, painter and architect, but also a Renaissance poet who wrote hundreds of poems. Since he aimed for perfection in every work he embarked on, he gave such importance to this effort that he would correct the same poem over and over again. Although not very diverse, Dante draws on strong literary sources such as Petrarch. So much so that many of his contemporaries state that Michelangelo knew the poems of these two great poets of Italian literature by heart. His poems, which he started to write under their guidance and by imitating them, become more and more original with the influence of the people who entered his life and the experience he gained. He creates a parallelism between the love theory of Neoplatonic philosophy, which gained importance especially in Florence of that period, and his own artistic views, and reflects this both in his life, visual works and poems. In this context, his poems provide an understanding of the emotion, thought and intention behind the visual works of this great genius of the Renaissance. While he was still alive, some of his poems were composed and appreciated enough to be lectured on. A Renaissance Poet: A Study of Michelangelo Buonarroti and His Poems, this thesis consists of three main parts: these chapters are, respectively,
***1) XV. and XVI. The Social, Political and Cultural Situation of Italy in the Context of the Renaissance in the Centuries,***
***2) An Analysis of Michelangelo's Life and Visual and Literary Works from a Historical Perspective,***
***3) Michelangelo and Neoplatonism. Thesis XV. and XVI. Chapter I, entitled The Social, Political and Cultural Situation of Italy in the Context of the Renaissance in the Centuries***, is divided into two sub-titles after first drawing a general framework of the situation in Italy dominated by city-states, and focuses on the cities of Florence and Rome, where Michelangelo spent almost his entire life. . The II. Title of the study titled An Analysis of Michelangelo's Life and Visual and Literary Works from a Historical Perspective. In the chapter, the life and poetic evolution of Michelangelo, which is tried to be conveyed in parallel by opening six sub-titles, is divided into periods. The last part of the study, titled Michelangelo and Neoplatonism, III. In the first part, the effects of Platonic philosophy and Neoplatonic philosophy, starting from Plato and continuing until the Renaissance, on Italian literature are presented in a general framework. Then, another sub-title was created for the main part with the title of Reflections of Neoplatonic Philosophy in Michelangelo's Poems, and the Neoplatonic elements in Michelangelo's poems and the identification of these elements with art were examined.
What is Art ?
Expressing what art is is very difficult if you are closely related to art or are involved in art-related processes. Imagine a closet filled with ping pong balls. When you are asked what is art, the doors of that cabinet open and all the balls come over you and you will be surprised which one to keep. Actually, this question is not as old as human history. It has a history dating back only 2500 years. It is not the problem of those who paint on cave walls, draw shapes on earthen pots, build pyramids in Egypt, paint Greek vases, or sculpt an athlete throwing a discus. In fact, it is not the problem of Leonardo da Vinci or Rembrandt as a painter. On the other hand, it is not and should not be a problem for Duchamp, those who enter the process of creating with a post-modern approach, or those who paint or sculpt in their workshop.
The question of what is art has first been the main problem of philosophers. Especially his ideas about the creation of the universe formed the basis for finding the answer to the question of art. While defining art, Plato tried to explain it as a reflection of the beings in the universe. Aristotle, on the other hand, found it appropriate to explain art as imitation. In later periods, other philosophers, sociologists, psychologists and art historians tried to define art. However, the main question is; that is, the question of what is art has been ignored. In fact, what should be is the necessity of expressing what is art before the definition. So the following question should be asked. Is painting art? Is sculpture art? Is ceramic art? Of course not. Painting is not art. Because painting is an object. Sculpture is not art. Because sculpture is an object. The word ceramic, on the other hand, does not even describe an object. The objects we refer to as ceramics are either a vessel, a vase or a mug. Therefore, those objects are not called ceramics. So what is ceramic? Here is the name given to all of the techniques we use to make the above-mentioned objects. All of the techniques that start with preparing the necessary clay to make that object, from shaping to firing, from there to painting and glazing, are called ceramics.
Therefore, art is neither the name of an object nor the name of a technique. Art is a phenomenon. As such, the namings we make based on the object, namely the art of painting, the art of sculpture, the art of ceramics, the art of photography, etc., are incorrect expressions. These expose art, which is a phenomenon, to the danger of objectification. Many philosophers and art historians have different expressions on this subject. Some of them have attempted to classify art based on visual, some based on sensory. These are limited approaches. There is also the expression (finearts) Fine Arts, which includes the idea of "ugly arts". There are schools that are incorrectly named as “Fine Arts” both at home and abroad.
Is it important to define art? both yes and no. Defining art is important for society, but not for the person involved in the artistic creation process. Society needs to recognize what is expressed by the phenomenon of art. Because the society feels obliged to benefit from the phenomenon of art while creating certain basic values. In this way, he will determine his aesthetic values and include the value in his life. Thus, he will be able to capture the quality of life.
Art is creating the higher self of man in another dimension after a dynamic process. The higher self of man is the dimension of awareness, unlike the self-concepts stated by Nietzsche and Freud. This realization takes place when it comes into existence. It is doubtful that every human being can experience this realization. The dynamic process experienced has a feature other than motion. To understand the dynamic process, imagine a tray containing dozens of marbles. Make the balls move by moving this tray. From that moment on, you cannot control the balls hitting each other and with which points they come into contact with each other. In fact, it is very difficult to predict the other balls that the balls that come into contact with each other will come into contact with after this contact. The dynamic process has such a vital feature.
The person who enters the process of creating art, sometimes performs many activities that he cannot control, other than what he has designed. After such activities, the higher self exists in another dimension. These other dimensions are surface, volume, sound, word and mime. In other words, the person who enters the creative process of art can create his higher self on the surface, create it with volume, create it with sound, create it with words, or create it with a sign, in line with his own preferences. If he chose to exist on the surface, a painting or photograph emerges at the end of this process. If it is created with volume, either a sculpture or an architectural structure emerges. A musical work if it comes into existence with sound, a literary work if it comes into existence with words, and a character definition related to acting emerges if it comes into existence with a sign.
After all, what we call art is a life process. Evidence of this experience appears in the work of art. The characteristics of the elements that make up the resulting work and the relations of the elements with each other express that experience.
The painting or the elements that make up the photograph, basically the stains and forms, the expression of the lived process belonging to the process lived in order to bring the higher self into existence on the surface, the composition that creates the dynamic of their coming together reveals the expression of all this lived experience. This situation is revealed as texture and forms in sculpture, with the relationship of sound (note) in musical work, with the expression of words in literary work, and with character expressions in mime.
Thus, art; art on the surface, art with volume, art with sound, art with words and art with mime become intelligible with five basic distinctions.
However, the fact that the phenomenon of art is expressed only on the basis of the experience of the person who enters the process of creating art brings with it a great deficiency. Because the work that emerges at the end of the creation process is included in his life by the viewer.
The features of the elements of the work of art also undertake triggering tasks in the vital dimension of the viewer. For example, while the purple color used in a painting appears as an expression of the trauma experienced by the person entering the process of creating it, it may have a feature that triggers a different vital dimension for the viewer.
As a result, art is the expression of any life that is valid only for human existence. However, although it reveals a simple dimension in terms of vital expression, it takes its place in the expression of the upper language in terms of perception. However, it is not a taboo.
Your Dark side...
Were you afraid of the dark when you were little? Most of us were afraid. I think none of us questioned the reason for this fear. We were all taught that darkness is something to be afraid of, fraught with many unknown dangers that can harm us.
Well, do you remember what happened when you turned on the lights? You've seen that those unknowns aren't scary. And they were no longer unknown; It was just things around you.
We have all learned to associate darkness with the terrible and unknown; It is also not a good thing to talk with dark thoughts and feelings. That's why most of us don't. However, although it is much easier not to go deep and to think superficially, we should know that the darkness in our soul is there whether we accept it or not, and it grows and adds strength to its power.
***Understanding the dark***
As we grow, so do our emotional turmoil and fears, and over time they begin to become like our shadows. There is a hidden part in all of us that influences our decisions without even being aware of it.
To tell the truth, we go to great lengths to hide this side of ourselves, both from ourselves and from other people. This is our dark side. The part of us we are ashamed of and afraid to show. But denial also prevents us from seeing our own power that lies in the obscurity of darkness.
We have decided to deny and hide the darkness within us, for reasons from the past, without going any deeper. And that keeps us from expressing ourselves openly.
Either way, hiding our shadows can be considered the highest form of betrayal. By hiding our dark sides, we say we don't deserve to express ourselves fully, and we betray ourselves. In the end, secrecy, manipulation, and pretending take over a large part of our lives because of our fear of being exposed and denied the aspects of ourselves we want to hide from people.
As I said before, our shadow can manifest itself as weakness or strength. Being fully aware of ourselves gives us the chance to unleash our true strength. On the other hand, ignoring some of our parties always has hurtful results.
The more we discover the dark corners of our selves, the more we see the flaws in our character. These can manifest as addictions, anxiety, failure in work and relationships, or different behavior patterns that can harm us and those around us.
Being aware of our shadows not only sheds light on the problems experienced at an early age, but also allows for healing and change. But as long as we choose to turn a blind eye to what is happening, the problems continue to grow and poison our lives.
We must transcend the shadows to strengthen our spirituality. All spiritual work requires that our shadows be uncovered and appraised with meaning. Only seeking enlightenment, pursuing inner peace, distracts us from feelings such as shame, guilt, greed, competition, lust, and greed. However, in order to reach true light and enlightenment, these feelings must first be overcome.
Even simple spiritual exercises like meditation can become difficult when we ignore our shadow, our dark side. When we close our eyes and are alone with our thoughts, the shadow we suppress appears.
The things we ignore always limit us and make us feel excluded. Deep down, we know that the feelings we ignore exist within us, and hiding them takes us away from the truth and sometimes leads us to self-destructive behaviors. If we do not accept and internalize our shadow, our spiritual and personal growth will be limited. If we avoid looking into the darkness, we are denying our desire to be understood by others.
We begin to over-identify ourselves with the traits we acquire while trying to understand reality. This in turn shapes our character, our attitude towards people and the world.
Our roles in life and our personality do their best to make us feel more valuable. For some of us it may be to be smart, successful and strong, while for others it may be the opposite. No matter how our personality tries to control our lives, in the end, it's nothing more than an effort to win the love and appreciation of others for traits we don't actually have.
As we struggle to keep parts of ourselves together, we create separations. The message here is: “I don't want to see or feel parts of myself that I know are inside of me, and I prefer to criticize others for having these traits that I reject and projecting them out.” Thus we choose separation between what is inside us and the outside world. Loneliness continues in a cage of pain.
***Fully accepting who you are***
The way to light is through darkness. Whether we like it or not, our dark side continues to exist in spite of all our efforts to hide it. We know it's there and constantly striving to be accepted.
We must face our shadow in an environment where we feel comfortable and safe. Otherwise, it can cause even more terrible loneliness. When we feel safe, we can begin to see and reveal what is hidden beneath our awareness.
We confine the unpolished diamonds of power, creativity and beauty within boundaries. Confronting our shadow is the perfect step towards healing and loving ourselves.
At first we may not be sure of who we are as we embark on this exciting and necessary journey. But it's like meeting a familiar stranger that we've been hiding behind masks for too long. Soon, new possibilities and perspectives emerge.
All of a sudden, we begin to see many of the problems we face in our lives from a strong and authentic perspective. We develop our capacity to be complete and complete in this world. What do you think, are you ready for such enlightenment?
The moment you think it's over, life begins there
Esotericism is cloaked in the symbols of mythology and hidden in a land of secrets. It was embodied in DNA, veiled in words, waiting to be dissolved in the soul through a single insight.
The mythological story you will read soon; It is the story of the Emerald Phoenix, Simurg or thirty birds who are beyond knowledge and minds, who are always alone but never say no to those who ask for help, who can be anywhere but cannot be found anywhere...
While Simurg, who lives in the land of birds, is ready to help every bird in trouble, it has not been seen for a long time. The birds wondered why Simurg did not appear, and they did not receive a response to their call for help. Time passes and this questioning spreads from ear to ear. Some blame themselves for this situation, while others remain indifferent. One day, they come across a different bird from a far country. This bird found a feather from Simurg's wing! The news of this feather, which has not been heard from for a long time but still proves its existence, soon begins to spread in the land of birds and the birds gather together. They decide to set out to go to Simurg, which is rumored to live on Mount Kaf.
This road is long, grueling and full of difficulties. So much so that those who left did not return. Birds who took this risk approached the subject wisely and asked the messenger bird, who could help them at any time, to guide them on this journey. A wise messenger bird, on the other hand, says that he knows the previously mentioned areas and can guide the community. Thus, they set out to find Simurg with the "Wise Bird", who will not leave them alone against all the risks that may arise on the journey.
Those participating in the journey are very enthusiastic and qualified birds. During the journey, they talk among themselves and share their knowledge. Every piece of information they share arouses greater interest and curiosity in them. This interest and curiosity made them even more eager to reach the mysterious Simurg and meet him.
According to rumors Simurg; bears a trace from every living thing, and contains every color in its feathers. Its wings are a mixture of gold and red, and its body and head are purple. The strange thing is that his face looks like a human! Being a unique bird, Simurg is also unique in its actions. Another extraordinary feature is that when it reaches a stage of its life, it burns itself to ashes with the "Tree of Knowledge" where it lives, and then it is reborn from the ashes. Therefore it is immortal. Its presence gives an indescribable happiness, tranquility, peace and security to those next to it.
Some of the birds on the journey get bored of this journey for various reasons and start to give up. If the "Wise Bird" had not been with them, perhaps they would have given up from the very beginning before they had gone this far. Although many of the birds, which are quite numerous, have given up, the journey continues with the rest. The rest have just reached the foothills of Mount Kaf. According to the legend, the real difficulties will begin from this stage. They will pass through that fearful valley at the foot of the mountain. Some birds cannot rise high enough to cross the valley and are afraid to return. Some people do not know that when they get tired and choose to rest a little, maybe they will never be able to catch up with those who go. Some lose their way by diving into the beauties of the valley, and some get lost in the valley of separation.
Some want to return, saddened by what they left behind. Some people prefer the world they know rather than going to a land they don't know. Some lose their resolve when they see their friends abandoning this path. Some lose their anger, some big birds lose their arrogance and leave the journey. The birds, who can no longer find a place to listen to the nightingales' songs or enjoy their splendor, abandon their journey. Either way, the number of excuses has been increasing day by day. After all, the end of this unknown and difficult road is not clear!
At this point, “Wise Bird” no longer makes an effort to turn anyone away from his decision.
The remaining birds can't stand it and want to ask Wise Bird where this road will lead. After this stage, he leaves them unanswered, thinking that beyond his own experience at the end of the road will be meaningless. They pass through the valley of love and the valleys of ingenuity, respectively. So far, their numbers are getting smaller and smaller. When it comes to the valley of Vahdet, many want to stay there. When they come to the valley of amazement, they are stunned by what they see. Neither their place nor their homeland comes to mind. What could be better than admiring this valley forever? The bird community leaves behind the birds that want to stay in the Hayret Valley and reach the Scarcity Valley, which is beyond their understanding and dreams. This is the place that has never been talked about and should not be talked about. Famine Valley is the last gate to Simurg.
Legendary places that everyone knows but are not in reality
It's hard to imagine that today's maps can show places that don't exist. But there were many imaginary places on maps drawn hundreds of years ago. Just like King Arthur's Avalon, some places on ancient maps were also based on legends. Many sailors set out to explore these areas.
*-St. Brendan Island*
At the end of our list of famous places that don't really exist is Brendan Island. st. Brendan Island is a legendary island thought to be in the North Atlantic. The island is named after St Brendan of Clonfert. Brendan Island is said to have been discovered by devout sailors and is an island covered with jewels. Although there is no evidence of Saint Brendan's journey, it became very popular in the Middle Ages. So much so that St. Brendan Island has found its way onto many maps. Many sailors spent their lives trying to find the island, as word spread that the island was full of jewels. However, when the searches yielded no results, this legendary island was removed from the maps in the 18th century.
*-Thule*
Thule was a place of admiration not only for ancient explorers and romantic poets, but also for the Nazis. Thule was a region under ice near Scandinavia. The history of the legend dates back to the 4th century BC. At that time this region represented the northernmost part of the known world. However, the location of Thule, mentioned by sailors and explorers, has not been determined until now. Some scientists state that the region called Thule may be Iceland. Another reason why this legendary island is so famous is because it was linked to the Nazis. After the First World War, a mysterious organization called the Thule Society considered this island to be ancestral to the Aryan race. This Munich-based organization had connections with many Nazis, especially Rudolf Hess.
*-Kingdom of Prester John*
During the Middle Ages, Europeans believed that there was a great empire in an unknown corner of the world. According to this belief, a Christian king ruled the empire in question. The legend first emerged in 1165 when the Byzantine and Holy Roman emperors received a letter from a ruler named "Prester John". This letter was sent to mobilize the emperors in Europe against the riches of the east. So the letter did not belong to the ruler named Prester John, but to an impostor trying to mobilize the kings. The false king introduced himself as the ruler of the largest of the "Three Indies". However, there was neither a king nor a kingdom in the middle. Still, the legend of the Kingdom of Prester John began to spread rapidly in Europe. Even the Christians who went to the Crusades were very happy that there was a kingdom to help them. The legendary kingdom later became a curiosity for travelers and explorers. So much so that Marco Polo even made up a contradictory story about seeing this kingdom. By the 17th century, this legend had fallen into oblivion as there was no tangible proof. Thus the imaginary Kingdom of Prester John was removed from many maps.
*-Hy – Brasil*
Hy Brasil first appeared on maps of the 14th century as a circular island bisected by a strait. The island's story most likely came from Celtic legends. Some legends described the island as a lost paradise or utopia. Other legends told that the island was constantly hidden by a thick veil of fog and was only visible to the naked eye once every seven years. Until the 1800s, many sailors considered it a real place. Even sailors began to travel to explore the island. Many documents dating from the 15th century claim that travelers encountered Hy-Brasil. However, historians state that sailors who thought they had gone to Hy-Brazil may have traveled to America.
*-El Dorado*
The origin of the El Dorado legend began with Gonzalo Jimenez de Quesada's hearings from the Muiska natives. A supposedly indigenous king, El Dorado powdered his body with gold dust and lived in great wealth. The stories of the rich king over time gave rise to rumors of the "golden city" with great splendor. Eventually, the explorers embarked on a long quest to find this golden city. However, the legendary city was never found.
Ada Blackjack-The Inuit Woman Who Survived the Arctic Alone
Wrangel Island is located in the harsh Arctic waters of the East Siberian and Chukchi seas, north of the Siberian coast. Surrounded by ice for most of the year and blown throughout by strong cyclonic winds, this region is the last known habitat of the woolly mammoth and has the highest concentration of polar bears in the world. It is also the site of one of the most Quixote-like and unfortunate Arctic explorations in history. In 1921, five people came here and sparked a diplomatic incident. Two years after that, only one person survived to tell the story. That person was a 25-year-old Inyupik named Ada Blackjack. Here is the story of Ada Blackjack, who survived two years as a survivor alone.
*In the 1920s, a group gathered that declared Wrangel Island to be British territory.*
Vilhjalmur Stefansson, a well-known and charismatic Arctic explorer, led the team. Stefansson was trying to claim Wrangel Island as part of the British Empire, even though no one asked him to. Since she had financed this mission herself, she had no intention of giving up on his request.
Stefansson recruited three Americans and a Canadian to lead the team. In addition, Alaska Natives would accompany them to ensure the crew reached Wrangel safely. After the team left Seattle on August 18, 1921, they traveled to Nome, Alaska, to meet with the Alaskan natives who would accompany them. After some effort, they found a ship that would take them to Wrangel. But Alaska Natives refused to go with them. The only person who decided to go with them was a 25-year-old Inyupik named Ada Blackjack (an Inuit people living in north and northwest Alaska).
The team wanted to leverage Inyupik's basic hunting and survival skills. However, these were skills that Ada didn't have. Ada Blackjack, whose real name is Ada Deletuk, was born in 1898 in Spruce Creek, Alaska. She was sent to Nome at an early age by his mother. Here he was raised by Methodist missionaries who taught him to read, write and cook "whites' food". Ada became an expert tailor and her skills in making fur garments were invaluable.
Stefansson had promised to pay $50 a month to come to Ada on an expedition. This money was much more than Ada would have earned by doing any other business. He also needed this money. Her husband, Jack Blackjack, whom she married at the age of 16, had beaten Ada, starved, and abandoned her. Ultimately, she divorced him. Two of Ada's three children died, and her surviving child, Bennett, suffered from chronic tuberculosis. However, Ada gave her child to the orphanage because she could not take care of her.
Ada Blackjack was afraid of going on an expedition and had doubts
Ada was conflicted about going on an expedition. On the other hand, he had a deep-rooted fear of polar bears. Ada had visited a shaman in Nome before her expedition. The shaman told him that death and danger were at hand and that he should be wary of fire and knives.
She also did not approve of traveling alone to a remote island with four men, and the men in the team did not find it appropriate to travel with a single woman. But Ada had promised, and she was confident that more Inyupiks would be recruited than they had stopped in Siberia. The team, consisting of Canadian Allan Crawford, 20, Americans Lorne Knight and Fred Maurer, 28, Milton Galle, 19, and Ada Blackjack, 25, set off on September 9.
A week later they arrived at Wrangel harbor, where they were unable to recruit any Inupiki. As such, Ada began to feel really overwhelmed. While the team declared that the island in question was British property, Ada walked to the beach and wept looking at the ship leaving the island.
Despite everything, the weather was surprisingly mild and the team quickly adapted to the climatic conditions of the region. However, after a few weeks, the situation was reversed. Angrily homesick and frightened Ada Blackjack withdrew. Every time he saw the men's knives, he was frightened, and the shaman's warning came to mind. She knew that none of the men specifically wanted her there, and that they all regretted taking her with them, and she was convinced that Knight would kill her.
The men on the team ruled out Ada Blackjack and it became harder and harder to survive each day they spent at Wrangel.
Ada tried to kill herself one day, but failed. Later, believing that there were spirits disguised as foxes and that he would be treated well if he could find them, he moved away from the camp and followed the fox's tracks. But she didn't find what she was hoping for and went back to camp, she. She cooked and sewed from time to time. In response, the men first tried to deceive him and mocked him. Later, they did not feed Ada and forced her to stay outside in the cold. They also tied him to a flagpole and threatened to whip him at one point.
As winter approached, the men began to weaken. Then Ada gave herself to work. He did his best to survive the dark and cold months and deter polar bears from approaching the camp. The entire team was looking forward to the summer season and the arrival of help. But even as summer passed, the glaciers around the island did not melt, and Stefansson's ship from Alaska could not reach them.
**Ada Blackjack is the only survivor**
On June 23, Knight died. Ada couldn't bear to pull Knight out of her sleeping bag, so she built a wooden barricade around her to protect her from wild animals and moved into the storage tent to avoid the smell of decay. The island was truly alone now. He hoped that the others would return, but he knew it was highly unlikely now. What would happen to him if he had to spend another winter in this cruel and remote place? Would she ever see Bennett again?
With supplies running low shortly after Knight's death, she focused on collecting eggs and used wood and skins to build himself a boat. However, the wind carried the boat towards the sea. Then Ada built another boat and began to wait. On August 20, she awoke from her slumber believing she had heard a voice. Hearing the same sound again, she took his glasses and dashed out. There was a fog covering the island. As the mist lifted for a brief moment, Ada saw a ship. She ran to the beach and splashed into the water just as a boat reached the shore.
With mixed feelings, Ada was waiting for Blackjack, Crawford, Maurer and Galle to be on board. But the man who got off the boat was Stefansson's accomplice, Harold Noice. Noice was shocked to not see any of the men on the team. Because the only survivor was Ada Blackjack, an Eskimo tailor who was reluctant on her expedition, humiliated, scolded, and tied up, forced to learn to hunt, trap, and live in the Arctic by herself. Ada was very happy to be able to return home to her son, and with this joy she fell into Noice's arms and began to cry.
His return and the death of other expedition members caused great public outrage, but Ada tried to avoid it all. She took his son Bennett to Seattle for tuberculosis treatment, had another son named Billy, and eventually returned to Alaska. He died there on May 29, 1983 at the age of 85 and is buried in Anchorage Memorial Park Cemetery. There is a plaque on his grave that reads "Hero of Wrangel Island".
Almost a century after this event, the story of Ada Blackjack continues to resonate and inspire, especially among Alaska Natives.
Quality is Everywhere in Life
The most important feature that distinguishes human beings from other living things is always the urge to seek the better. In fact, quality is not the generally accepted definitions of durability, aesthetics, and above standards, but exceeding expectations. Therefore, quality is a dynamic concept and every expectation that is met takes the concept of quality to the next level. For example, the cars of the 1960s, which were described as high quality, began to be seen only as average in the 1970s, and in the 1980s, cars that would be produced in that standard no longer even had the opportunity to be sold. Today, it is unthinkable that anyone, except collectors, would want to buy a tube black and white television that was once considered excellent.
Therefore, quality is an effort to meet the human instinct to always seek better. So, what do people look for in life? The answer to this question is a question that has troubled philosophers, scientists and statesmen for thousands of years, that every person asks himself from time to time, but does not have a single answer. Even different religious beliefs have different definitions for 'nirvana'. There are many dimensions that define life: meeting the biological and physiological needs of people such as food, water, shelter, sleep, meeting the needs of security, protection from dangers, belonging to a group, having a family, establishing a relationship, meeting the needs of love, being able to act independently. To achieve a respected position in society, to meet the needs of being successful, to develop knowledge and experience, to meet mental needs such as finding meaning in life, to meet aesthetic needs such as beauty and artistic wealth, to meet motivations such as self-development, to have different experiences, to help others develop themselves. like satisfying their motives.
For this reason, when talking about the quality of life in a society, it is necessary to express not only the length of life or the high level of income, but also the diversity in all these dimensions and the level achieved. Moreover, when speaking of a society, it is necessary to consider not only the level reached by the best, but also the level reached by the average person and the situation of the most deprived. For example, it is clear that there is still a long way to go in terms of quality of life in one of the world's superpowers, such as the USA, where there are many hungry people and many deprived of social security. On the other hand, in Cuba, which can be ranked far behind in terms of wealth and people's independence, women who hitchhike to go home at midnight are not considered badly, everyone helps each other in this regard, and if it is perceived as a normal part of life, they are ahead of many countries in terms of security and social understanding. can be said to be.
While evaluating the quality of life from a social point of view, not only the situation in a certain period of time, but also the issue of what kind of environment is prepared for future generations should also be evaluated. Can it be said that the quality of life is good in societies that use their wealth only for pleasure and enjoyment, do not spare enough resources for the upbringing of future generations, or do not hesitate to pollute the environment for today's wealth and leave difficult problems for future generations to solve?
Therefore, increasing the quality of life requires a social movement that includes all areas of life. On the one hand, it is ensured that the necessary steps are taken by all segments of the society so that each day can be better than the previous one, on the other hand, giving importance to the creation of realistic but challenging expectations helps both to increase the speed of social development and to keep the level of social happiness and motivation high during this development process. .
From bingeing to having a pleasant meal; from covering up, creating fashion, sheltering, living in environments with high aesthetic values and harmony, enriching and sharing; from acquiring knowledge to producing knowledge; There is a common management approach that we need to adopt in order to enable the transition to see differences as wealth: Total Quality Management. This management approach is to be result and customer-oriented, to create a culture of continuous improvement and collaboration, to adopt a sharing management approach based on data, to be consistent, fair, accountable, transparent, responsible for all stakeholders and the future in order to ensure the effective use of limited resources in line with common goals. requires commitment.
As we increase the number of those who adopt and implement this management approach, we will contribute to the formation of a society that will enable us to increase the speed of our development, no matter how we define the quality of life.
@Humanpsychology
