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352 Summary Within the context of the Turkish people's odyssey of pictorial art, from its inception to the present day, or in other words the dialectic homogenism of `Turkish Culture,` the attempt to distinguish `traditional` vs. `modern` compartments, or `painting` vs. `the miniature,` will, as emerges from our study to this point, vary according to one's approach to the subject. That is, different conclusions will be yielded by considering the miniature and painting as, on the one hand, distinct technical processes in the same national tradition of art, or, on the other hand, as distinct stylistic processes one of which succeeded the other. Starting in North Central Asia and expanding with each additional ring as it spread westward, the circle of Turkish Culture reached the Middle East where it adopted Islamic ecumenism to take on a spiritually unifying character. By taking the steppe's rich, colorful world of forms and giving it shape in pictures, whether for murals or books, the Uighurs activated all the cultural resources which made possible the Seljuk miniatures that would come to dominate the entire Middle and Near East during the 13 th century. The center of the cultural circle which in that century slid into Anatolia took roughly two centuries of development to prepare stylistically for the Anatolian pictorial art - i.e. the miniature - which in the 15th and 16th centuries would reach its zenith. During those two centuries of development a pictorial language was born from the union of both Asian and Middle Eastern contributions with an Anatolian element. Chapter Two traces this traditional representational art chronologically, starting with the earliest known examples, which may be viewed primarily as historical material, up until the late 18th century when it ceased to be practiced. There is also an attempt to determine the effect on Turkish art of the rather short-lived earliest experience at the first fork in the road which would separate the Turkish miniature from painting, outlining the cultural milieu of the 15th century and indicating the contributions and influences of Western artists. At the point defined by the separation of painting and the miniature, there is a richness at least in terms of technique, content and subject matter, constituting a tie353 between these two traditions; and among the important factors making possible an awareness of this fact were, as indicated in Chapter 3.1, the European Orientalist painters. Actually the Ottoman adventure of these European artists goes back farther than the 18th century, when 'oriental' interests emerged, for they started visiting and sojourning in the Ottoman lands as early as the 15th century, sometimes even taking up posts in the palace where they contributed to the artistic output. The path was opened by certain renowned Italian artists of the 15th century, and in the 16th century was also beaten by painters from Central and Northern Europe. However, unlike the ^-century artists who came during the reign of Fatih (Mehmet II) and painted in Istanbul, perhaps even training students, those who, not counting a handful of which we may or may not be aware (such as the Hungarian Nakkaş Pervane), those who came to the Ottoman lands for a variety of reasons, executed engravings of the land and its people, and then departed as they had come, can scarcely have made any direct contribution to Ottoman art. And it is unthinkable that they had any technical or artistic impact on Ottoman pictorial art. Only hundreds of years later did the first true paintings, and the first true painters, emerge on the scene, the span between 1850 and 1900 being especially significant in the development of this genre, for during these years the studios of army-career painters, mainly in Beyoğlu, began to appear alongside those of the non-Muslim and Orientalist artists. During the same years, Guillement gave lessons and held exhibitions at his private academy in Beyoğlu, while in 1872 and 1875 Şeker Ahmet Pasha held his first collective exhibitons, and in 1880-82 the Elifba (ABC) Club, some members of which were Ottoman Artists belonging to minorities, gave exhibitions which were welcomed positively by the public. Then in 1883 the Senayi-i Nefise Mektebi (School of Fine Arts) was opened. Meanwhile the dawn of an era came as Ferik Tevfik, Ferik Ibrahim Pasha and others became the first artists to be sent abroad for studies. During the same period such important Orientalists as Zonaro and Moretti continued to be active. Most interesting of all, as this academic development took place in Turkish painting, young artists with a primitive style, some of whom would perhaps continue their careers at Harbiye (the Military Academy) and Mülkiye (the School of Political Science), were at work in the Darüşşafaka Lycee producing the first examples of archaism ever to be seen354 in Turkish painting. These years also loom large in the career of Osman Hamdi Bey, who came from Baghdad to Istanbul in 1871 and must have contributed to some exhibitions with paintings he did during this time. The early period consists of works by, first the Orientalists, and then their native students, and the Darüşşüfaka and military-career artists who followed in their footsteps. These in turn were followed by artists known as the 1914 generation, whose work comprises the first phase of Turkish painting in the Western sense. Studying in various European cities as a result of an examination they passed in 1910, these artists returned to their homeland with the outbreak of World War I, and became the representatives in the Ottoman Empire of Impressionism, which at the time was seen as the crest of a new wave. Developing individual styles despite the influence of the French Impressionists, the artists of the 1914 generation had in common a heartfelt love of nature, as they attempted to capture pure colors of sunlight cleansed of its dark shades, along with the effects light has on color. However, from the standpoint of our subject a separate importance in the art portfolios attaches to another type of painting they did up until the end of World War I, canvasses which depicted the bravery and heroism of the Turkish people and which the artists themselves would later characterize, perhaps with a touch of irony, as `epic.` These epic canvasses, which they would come to view as not especially artistic, are the most deliberate, conscious examples ever of `history reflected in pictorial art,` which embodies the artist's view of and perspective on history and historical events and is precisely the subject whose chronology has been outlined in the present study. It is also true that while such `official` paintings were being executed by such artists as Hikmet Onat, Ibrahim Çallı, Ali Cemal and Diyarbakırlı Tahsin, independent work revealing the same level of consciousness was being done by Hasan Rıza, Osman Hamdi Bey and others. The reflection, in art, of history in its multifold dimensions - in other words, an artistic sensitivity towards history - continued after the collapse of the Ottoman Empire and the proclamation of the Republic, as Turkish painting persisted in the form of a dialectical process. The early 1930s - a decade which would witness important movements in art - saw a program of cultural and artistic activities sponsored by the single-party organization and by the Halkevleri (People's Lodges) which had the status of semi-official organs of the state. First artists were sent to remote parts of the355 country in a program designed to further Kemalist reforms and the principles upon which the Republic was founded, and exhibitions were held having the same goal. Then came the `Exhibtions of Reform Art` (1933-37), bringing together a considerable repertory of works which, public feeling about World War I and the Balkan War having previously been given a forum, dealt with attitudes toward the War of Independence and Kemalist Reforms. Featuring such concerns as Republicanism, Nationalism, Populism and Reformism, these paintings are evidence of how greatly artists were affected by the political and socio-cultural currents of the day, and perhaps of how the aims of propaganda consciously planned by the single-party organization were adopted by the artistic milieu. Following the death of Atatürk, Turkey sealed itself off from the outside world during the Second World War, as the 1940s witnessed further visits by artists to remoter parts of the country in what was called `A Return From School to the Homeland.` Some artists who made these trips were content merely to become acquainted with the people of Anatolia and to depict small-town life, but others went further, producing canvasses that treated of Anatolia's culture, folklore and heritage. Never in the entire history of the Republic did the state concern itself with art, nor put it to use, as much as during this period of roughly a decade, when all cultural activities were not only given importance and guided, but even programmed by the state itself, which went so far as to determine their content. During the 1940s the traditional arts were all but completely ignored while the propaganda function of art was exploited to the full, as two generations of artists produced work simultaneously, the one espousing an impressionistic and the other a cubist style. In the wake of such groups as the Independents and Group D, the 1950s saw a process begin in which group movements were no longer of importance. Since that time many groups of artists have seen the light of day, but none have been able to launch a new era, introduce novel approaches, or develop concepts of any impact. And although abstract painting found many exponents up until the late 1970s, it never threatened the existence of figurative art. Meanwhile the ensuing years have seen Turkish painting abandon its monody to embrace many trends at once, whether universal vs. national, universal vs. local, social vs. individualist, or abstract vs. figurative, giving it a356 multifarious, pluralistic character. There are, however, two powerful strands within this pluralistic phenomenon, deriving their strength from genre knowledge and cultural underpinnings and comprehending all tendencies. These are `nationality` and `humanism,` the former acquiring with the Republic both a new meaning and a new conceptual glossary, and the latter increasingly oriented toward the individual. Although during periods marked by political ferment they have at times come into conflict, both have remained extant and active in a process that extends to the present day. 580

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80'lerin siyasi baskılarını sanatla aşmaya kararlı sanatçılarının; sergiler ve sanat dergileri vasıtası ile toplumla iletişimde kalmayı başardığı 1980'lerde ortaya konan eserlerin azımsanamayacak kadar büyük bir bölümü; Devlet Resim ve Heykel Sergisi kataloglarında yer almaktadır. Bu bağlamda kataloglar 1980'lerde Türk resim sanatının gelişim çizgisini izlememiz açısından görsel arşiv niteliği taşımaktadır.1980-1990 yılları arasında kalan on yıllık zaman dilimine odaklanan bu çalışmada; bu yıllar içindeki sanatsal ve kültürel değişim Devlet Resim ve Heykel Sergileri üzerinden açıklanmaya çalışılmış, bu süreçte resim sanatında ortaya çıkan konu ve tartışmalar irdelenmiştir. Özetle bu yılları içeren kültür ve sanat ortamı sergi içeriği ile okunmaya çalışılmıştır.Sonuç olarak; 1980'lerde yeni bir anlam, nitelik ve içerik kazanan Türk resmini Devlet Resim ve Heykel Sergileri'nde derece ve ödüle değer görülen eserler üzerinden irdeleyen bu çalışmada; konuya tarihsel süreç içinde yaklaşılarak Türk resminin o dönem için yeni kabul edilen kimliği ortaya konmuştur. The artists who decided to surpassing the 80s political pressure by art and the same artists also are able to keep in communication with the community through with exhibitions and art magazines in 1980s, in the meantime the considerable part of exhibited work of art are located in State Art Painting And Sculpture Exhibition catalogue. In this context, the catalogues have the characteristics of visual archive to monitored of developmental stages of Turk Painting Art in 1980s.This study focuses on the ten-year time period, especially between 1980-1990. In these years the artistic and cultural Exchange tried to be explained through State Art Painting And Sculpture Exhibition. In this process, the emerging issues and debates in painting art is examined.To sup up, culture and art environment in these years tried to read with the contents of the exhibition. As a result; Turkish Picture is gained meaning, quality and content in 1980. This study also scrutinise at Works by being deemed worthy of an award and degree in State Art Painting And Sculpture Exhibitions. As well, being accepted Turkish painting new identity for that period is revealed to approach within historical process of the subject. 131

Çalışmamızın birinci bölümü, Türkiye'de heykel sanatının gelişimini, ikinci bölümü, günümüz Türk heykel sanatını, üçüncü bölümü de heykeltraş Burhan Alkar'ı kapsamaktadır.Tezin birinci bölümü olan Türkiye'de heykel sanatının gelişimi başlığı altında, Cumhuriyet öncesi Türk heykel sanatı, Batı'ya açılış ve heykel sanatı, Sanayi-i Nefise Mektebi ve heykel bölümü, Türkiye'de heykel sanatının gelişiminde öncü çevreler ve kamusal talebin gelişme süreci, erken Cumhuriyet dönemi heykel sanatı ve Cumhuriyet'in ilk heykeltraşları, Cumhuriyet döneminde ilk sanat eğitimi kurumları ve heykel eğitimi, erken Cumhuriyet dönemi Türkiyesi'nde toplumsal yapı ve heykel sanatının toplum katlarına kazandırılması süreci, Türkiye'de heykel sanatının gelişiminde yabancı heykeltraşların katkıları, Cumhuriyet öncesi Türk heykeltraşları, çok partili hayata geçiş ve sonrası Türk heykelinde devletin rolü, çağdaş Türk heykelinin gelişiminde kamusal talepler ve kamu gücünün heykel sanatının niteliği ve gelişimine katkıları, 1980'li yıllara ulaşan süreçte Türk siyasal ve kültürel değişiminin heykel sanatının gelişimine etkileri, çağdaş Türk heykelinde üslupsal gelişmeler incelenmiştir.İkinci bölüm olan günümüz Türk heykel sanatında, çağdaş Türk heykel sanatı ve Batı'dan gelen etkiler, yeni eğilimler ve üslupsal arayışlar ve Türk heykeltraşlarının çağdaş sanat platformundaki yaratıcı rolü araştırılmıştır.Cumhuriyet dönemi heykeltraşlarımızdan olan Burhan Alkar'ı konu edinen üçüncü bölümde sanatçının yaşamı, eğitim süreci, öğretim görevliliği, sanatsal algıları, görüşleri, sanat felsefesi ve yorumları, Türk heykelindeki yeri ve heykele olan katkıları, başkaları tarafından kendisi hakkında yazılanları, heykele bakış açısı, soyut ve figüratif eserleri ve anıtlarına ayrıntılarıyla değinilmiştir.Türk heykel sanatının gelişim çizgisinin genel olarak ele alınmasının yanında, Burhan Alkar'ın, sanatçı kişiliği, heykel sanatına yapmış olduğu katkıların daha iyi anlaşılabilmesi ve yorumlanabilmesi amaçlanmıştır.Türkiye'de heykel sanatının gelişimi, günümüz Türk heykel sanatı konularını ve sanatçıyı incelerken, hayatta olan arkadaşlarından, yetiştirdiği öğrencilerinden, kendisinden ve arşivinden yaralanılmıştır.Bütün bunlardan yola çıkılarak, heykeltraş Burhan Alkar'ın sanatçı kişiliği tüm yönleriyle incelenmiş ve katalog oluşturularak çalışma sonlandırılmıştır.Anahtar Sözcükler1. Burhan Alkar2. Heykel3. Heykeltraş4. Soyut5. Figüratif The first part of this study gives a historical overview of the evolvement of the art of sculpture in Turkey, while the second part takes a glitch of the Turkish sculpturing art and the third part covers a mixed bibliographical - historical presentation of Mr. Burhan Alkar, a famous sculptor of the recent past.Under the context of evolvement of sculpturing art in Turkey, which forms the first part of the thesis study, the Pre-Republican Turkish Sculpturing art, its first encounters with the Western society and sculpture are inferred, the emerge of the Industrial School of Art Perfection (Sanayi-i Nefise Mektebi) and its sculpture section, the pioneering groups of the art of sculpture in Turkey and the historical development and progress of public demand for this particular branch of Art in the country?s civilization timeline, the first sculptors and early occurrences of institutions of art education and the formal education of sculpture as an art, the social structure and process of socialization of sculpture among the people of Turkey in the Republican Era, the contributions of foreign sculptors to the development of the art of sculpture in Turkey, Turkish Sculptors of the Pre-Republican Era, the role of State in Turkish sculpture both during and after the time of transition to multi-party system, public demands and the impacts and contributions of people?s power to the improvement of quality and development of skills for the art of sculpture, the inflictions of changes in Turkish politics and cultural life on the overall progress of development of the art of sculpture and the stylistic improvements in the Turkish sculpture are inferred.The second part of the study lures into the contemporary Turkish sculpture, new trends and style searches, the western influence on Turkish art of sculpture and the creative role of Turkish sculptors in the modern arts platform.The third part provides an in-depth overview and insight to the life and achievements of Mr. Burhan Alkar, one of the sculptors of the Republican Era, his history of education both as a novice and then a scholar and lecturer, his artistic perceptions, views, philosophy of art and commentaries and his particular role in and contributions to Turkish sculpture, in company with writings of others about him, his perspective of sculpture, his abstract and figurative works and monumental engravings.The purpose of this study is to help better understanding and construal of the artistic personality and particular contributions of Mr. Burhan Alkar to the art of sculpture, while giving a somewhat generic picture of the overall progress of Turkish sculpture art on the historical timeline of civilizations.While placing the spotlight on evolution of the art of sculpture in Turkey and inferring the various issues of Turkish sculpture, we have much made use of this celebrated artist?s own tellings, as well as that of his close friends who are still alive, his fellow students and especially the impressive archives he effortlessly unveiled to us.Stepping a move forward on all this cultural heritage, the study focuses on the personality of Sculptor Mr. Burhan Alkar as an artist. We have created a catalog in finalization of this study.Keywords1. Burhan Alkar2. Sculpture3. Sculptor4. Abstract5. Figurative 365

Türk Halk El Sanatlarının en güzel ve bugüne kadar fazla tanıtılmamış ve bilinmeyen örneklerinden birisi olan ,sayısız Türk El Sanatı evreni içerisinde önemli bir yere sahip olan Türk Camaltı resimleri; gerek yapılış şekilleriyle, gerekse konularıyla oldukça ilginç örnekler arasında yer almaktadır.Cama desenleri ters olarak uygulayıp resmetme şeklinde yapılan bu sanat dalında cam ters çevrilince desenler düz olarak görünmekte, arkaya konan karton, folyo gibi malzemelerle de resim dış tesirlerden korunmakta olup, arkada bir fon da elde edilmektedir.Katalog kısmında ele aldığımız 100 örnekte çeşitli konular tercih edilmiştir.Figürlü fantastik konulardan halk mitolojisine ait ve kökeni daha eskilere, Mezopotamya'ya kadar dayanan yarı insan yarı yılan Şahmaran tasvirleri, buna benzer şekilde resmedilmiş Deniz Kızları figürleri, dinimizde önemli bir yere sahip olan Hz.Muhammed'in Mirac'a çıkarken bindiği binek olarak inanılan yarı kadın yarı kuş olarak tasvir edilen Burak tasvirleri melekli kompozisyonlar; hayvan figürlerinden tavuskuşları, çifte kuşlar; insan figürlü çalışmalardan Sultan Abdülaziz, Hz.Ali ve Devesi, Hz.Ali ve Oğulları, Karagöz-Hacivat, gemide insan figürleri; yazılı kompozisyonlardan Besmeleler, Kelime-i Tevhid'ler, Allah'ın isimleri, Dört Halife'nin , Oniki İmam'ın isimleri gibi çeşitli türlerde yazılmış hat sanatı örnekleri, yazı-resim gemi tasvirleri, tarikat sikkeleri, kayıklar; nesneli konulardan ibrikli kompozisyonlar,Osmanlı İmparatorluğu'na ait bazı zırhlı gemi tasvirleri, Osmanlı armaları, tarikat resimleri ve sembolleri, imparatorluğun önemli yerlerinden görüntüler, Kâbe, Cami tasvirleri ( Sultanahmet, Edirne Selimiye, Konya Mevlana Camileri), geometrik , bitkisel kompozisyonlar, Ah Minel Aşk tasvirleri, Süleyman'ın Mührü olarak da bilinen geometrik kompozisyon, Ashab-ı Kehf kompozisyonları gerçekten ilgi çekici konulardandır.Ele aldığımız 100 örnekten 29'unun tarihi bilinmekle beraber bunlardan 16'sının tarihi yenidir( 2004-2005).En eski tarihli örneğimiz ise H.1259-M.1842-43 tarihli yazılı örneğimizdir..Geriye kalan 71 resmin tarihi bilinmemektedir.Yapılan tarihlendirme çalışmalarında tarihi bilinmeyen bu resimlerden 26'sının 20.yy ortalarına, 14'ünün 19.yy sonu ile 20.yy başları arasındaki bir döneme, 10'unun 20.yy başlarına ,5'inin 19.yy ortası ile 20.yy ortası arasına ,3'ünün 20.yy sonlarına ,3'ünün 20.yy başı ile ortası arasına, 2'sinin 21.yy başına, 2'sinin 20.yy 2.yarısına, 2'sinin 19.yy ortası 20.yy başına 1'inin 19.yy 2.yarısı- 20.yy başlarına, 1'inin 20.yy sonu 21.yy başına, 1'inin 19.yy başına ait olabileceği ortaya çıkarılmıştır.Örneklerimizden 35 eserin ustası bilinmektedir.Tarihli 29 örnekten 3'ünde sadece tarih yazılı, 10'unda tarihle beraber usta ismi (ketebe tarihli) yazılıdır.16 örnekte tarih bilinmektedir ( yeni olduğundan).Anahtar Sözcükler1-Camaltı2-Geleneksel3-Halk4-Resim5-Sanat Examples From Underglass Paintings in Traditional Turkish Folkloric Painting Art, Master Tehesis,Ankara,2008.Turkish ?Camalti? (an art of drawing on glass) drawings; whether of their constructions or its topics; take a quite interesting place in countless cosmos of best and unfortunately unintroduced and unknown samples of Turkish National handcrafts.In this branch of art designs are applied inverted on the glass and when the glass is turned they appear straight, also we get a background from the materials like cardboards and nylon which are used to protect from external factors.There were chosen various subjects in the 100 samples that we dealt with the catalog. Subjects chosen from the fantastic figures which are related with national mythology and originate up to Mesopotamia; half human-being half snake (Sahmaran) designs, similar to this, drawn figures from ?sea-girls?, compositions made by the religious topics, design which is believed that Prophet Mohammed in the time of ?Mirac? (rising up to sky) has got on the ?Burak? angel composition of half human-being half bird, paired birds from animal figures, Sultan Abdulaziz, Hz. Ali and his camel, Hz. Ali and his Sons, Karagoz-Hacivat, figures of human in boat are compositions of human figures, written compositions are choosen from religious topics and samples of Quran like ?Besmele?, ?Kelime-i Tevhid?, Names of Allah; Four Caliphs, names of Twelve Imams in Islam, which are prepared by the art of lines (Hat) in different types, writing-drawing of ship descriptions, wealth of religious orders, boats, compositions of ewer, descriptions of armoured ships which belong to Ottoman Empire, coat of arms of Ottoman, dervish pictures and symbols, images from important places of Empire, Kabe (Mekka), descriptions of Mosques (Sultanahmet, Edirne Selimiye, Konya Mevlana Mosques), geometric, vegetable descriptions, ?Ah Minel Ask? descriptions, geometric composition of signet ring of Suleyman, compositions of ?Ashab-i Kehf are really interesting subjects.In the 100 samples that we took up, 29 of them has its own date where 16 of them are new samples (2004-2005). The oldest sample is the written sample whose date is H. 1259-M.1842-43. The other 71 drawings don?t have a date. Due to the researches made for their history they might belong like; 26 of them to middle of 20th, 14 of them to end of the 19th and somewhere in early 20th, 10 of them to early 20th, 5 of them from middle of 19th between middle of 20th, 3 of them in the end of 20th, 3 of them from early 20th to middle 20th, 2 of them in early 21st , 2 of them to the secont half of 20th, 2 of them from middle 19th till early 20th, 1 of them from the secont half of 19th until early 20th, 1 of them from end of 20th until early 21st, and 1 of them in early 19th century.Craftsman of our 35 work of art are known. 3 samples from 29 dated samples has only its date, whereas 10 of them has both date and autors sign. Also 16 samples are dated because they are new.Key Words1-Underglass2-Traditional3-Folk4-Drawing5-Art 335

279 ÖZET Türk resim sanatının gelişim süreci, Osmanlı İmparatorluğu'nun batılılaşma hareketiyle başlar. 1793 yılında askeri okullara resim dersleri konulması; 1 883 'te Sanayi-i Nefise Mektebi'nin açılması, 1908 yılında II. Meşrutiyet' in ilam ile birlikte, Avrupa'ya resim eğitimine gönderilen gençlerin, 1914 yılında yurda dönmesiyle çağdaş Türk resminin Cumhuriyet öncesi dönemi tamamlanır.Bu ilk dönemin önemli gelişmeleri içinde, 1909 yılında Osmanlı Ressamlar Cemiyeti adı ile ilk sanatçı bnüğinin kurulması, Osmanlı Ressamlar Cemiyeti Gazetesi'nin yayınlanması, genç kızların sanat eğitimi için 1914 yılında înas Sanayi-i Nefise Mektebi'nin açılması ve 1916 yılından başlayarak her yıl düzenli olarak Galatasaray Sergileri'nin düzenlenmesi vardır. Ayrıca 1917 yılında Şişli Atölyesi 'nin kurulması ve 1918'de Viyana Sergisi önemli gelişmedir. Türk resminde ikinci dönem Mustafa Kemal önderliğinde kazanılan Kurtuluş Savaşı sonunda kurulan Türkiye Cumhuriyeti ile başlar ve günümüze kadar devam eder. 1914 kuşağı bu iki dönem arasında bir köprü vazifesi görmüşler ve Cumhuriyet dönemi sanatçıları üzerinde de etkili olmuşlardır. MEHMET RUHÎ AREL 1880 yılında İstanbul'da Galata semtinde doğmuştur. Babası Halil Bey'dir. Dedesi Diyarbakırlı Kadiri şeyhi Hacı Ali Baba, Gülşeni soyundan köklü bir aileden gelmektedir. 1900'de gemi mühendis subayı olarak Bahriye Mektebi' ni bitirir. Aynı yıl bu okula resim muallim muavinliğine atanır. Resim merakım, sistemli bir eğitim üzerine oturtmak isteyen Ruhi Bey, Sanayi-i Nefise' ye kayıt yaptırır. 1905 yılında F. Muzaffer Neyzi Hanım ile evlenir. 1906' da büyük oğlu Şemsettin doğar. 1909' da Sanayi-i Nefise'yi birincilikle bitirir. Sanayi-i Nefise' de Valeri' nin öğrencisidir. Desen ve suluboyada üstün bir beceriye kavuşmasında bu hocanın, büyük payı vardır. 1909'da Sanayi-i Nefise' de açılan sınavı kazanarak Paris' e gider. Paris'te I'Ecole National Superieur des Beaux-Arts'a devam eder. Burada akademik resmin inceliklerini öğrenir. Hocası Fernand-Anne Piestre Cormon'dur. 1914'de Birinci Dünya Savaş başlaymca Mehmet Ruhi Bey de diğer arkadaşları gibi yurda döner. Akademi' de `menazır` (perspektif) öğretmeni olarak görev alır.l917'de Şişli Atölyesi'nde çalışır. Sanatın sağlam bir gözleme ve teknik bilgiye280 dayanması gerektiği yolunda temel bazı görüşlere sahiptir. Bu görüşlerden ödün verilmesini ve batılı anlamda bir sanat eğitiminin gerektirdiği ortamdan uzak düşülmesini şiddetle eleştirir. Akademideki öğretmenliği sırasında da bu görüşlerini uygulamaktan geri kalmaz. Ne var ki akademideki öğretim, henüz onun istediği düzeyde değildir. Atölyelerde çıplak modeller, peştemallarla poz veriyorlardı. Ruhi Bey sanat eğitimiyle çelişik gördüğü bu tür yöntemlere karşı çıktığı için, kısa süre sonra akademiden uzaklaştırılır. Bundan sonra, Darüleytam, Kabataş, Namık Kemal, Kız Muallim okullarında ve Bahriye' de resim öğretmenliklerinde bulunur. 1924 yılında tekrar Sanayi-i Nefise'de `menazır` öğretmenliğine atanır. 1926 yılında küçük oğlu Orhan doğar. Ruhi Bey'in son görevi Üsküdar Ortaokulu'nda resim öğretmenliğidir. Ruhi Bey, Osmanlı Ressamlar Cemiyeti'nin kurulmasında ve sanatçıların belli bir meslek örgütü çevresinde toplanmasında da büyük katkısı olan sanatçı, geniş kültürüyle dostları ve arkadaşları arasında saygı uyandırmıştır. Keman çalar, iyi İngilizce ve Fransızca bilirdi. Resimleri yaşadığı dönemde, Avusturya, Almanya ve İtalya' da karma sergilerde yer almıştır. Galatasaray sergilerinde gösterilen tabloları, o zaman büyük hayranlık uyandırmıştır. Özellikle derin perspektif bilgisi, Ruhi Bey'e saygm bir kişilik kazandırmıştır. Avrupa'da tahsil ettiği halde garplılaşmamış ve idealist bir milli ressam olarak kalması nedeniyle, ona çağdaşlarından farklı bir gözle bakılmıştır. Resimlerinde milli varlık ve hisli rengin olgunluğunu yaşatmış, özellikle de ordumuzun kahramanlıklarım gösteren `askeri` tablolar yapmıştır. Bu tablolarda aynı konuyu işlemiş diğerleriyle karşılaştırıldığında Ruhi Bey'inkilerde, konuyu aşan ve sorunun özüne yaklaşan ayn bir tutum görmekteyiz. Ruhi Arel'in daha gerçekçi yaklaşımlar içinde, halkın gündelik yaşamına eğilmiş olması, o zamana kadar pek denenmemiş bir yoldu. 1940' larda `Yeniler` ve Liman ressamları grubuyla resim sanatımıza girecek olan yöresel içerikli eğilimin temeli, Ruhi ile atılmış oluyordu. Büyük `Taşçılar` kompozisyonu başta olmak üzere, `Hilal-i Ahmer' e Para toplayanlar`, `Yaşmaklı Kadın`, `Hicrette Bir Valide`, `Gazi'yi İstikbal` onun bu yönünü ortaya koymaktadır. Figür ressamlığının sonraki aşamasını, doğrudan doğruya çalışan ve üreten insanların konu alındığını, her yönüyle gerçekçi bir kompozisyon olan `Taşçılar` da görmekteyiz. Halk yaşamına bir gözlemci tavrıyla281 eğilmiştir. Samimiyet ve hassasiyetin ifadesi olan tabloları, gösterişten her zaman sakınmasını bilen bir anlayışın ürünleridir. 1919'da Galatasaray' da sergilenen `Sabah Namazı`, doğu ruhunun bir yankısı olarak karşılanmış ve bu görüş, batılı eleştirmenlerce de paylaşılmıştı. Ruhi' yi çağdaşlarından ayıran çizgi, insan figürüne yaşayan ve üreten bir varlık gözüyle bakmış olmasıdır. Bu tutum onun kendi döneminden çok ilerde olduğunu göstermektedir. Eşinin yaşmak ve feraceli portresi, bu dalda da başarılı olduğunu gösterir. Paris dönemine ait bu eserde, ince ve titiz bir beğeni akla gelir. Cormon atölyesindeki akademik eğitimin klasik öğretisi bu tabloya yansımıştır. Desenin etkisini ikinci plana iten, geniş fırça darbeleri, yeni ve modern bir portre yorumun akla getirir. Çok figürlü, büyük boyutlu kompozisyonlar oluşturma düşüncesi de, çağdaş sanatımızda Ruhi Arel ile yöresel ve toplumsal bakışın bir göstergesi olmuştur. `Atatürk Köylülerle` adlı tablosunda, sanatçıyı bu anlayış içinde, öğrenmiş olduğu klasik atölye geleneğini bir yana koyarak içsel eğilimlerini yönlendiren bir anlayışta görürüz. Ruhi Bey resimlerinde, konuya, resmi sanat öğretilerinin bağlayıcı gözlükleri ile bakmaz. Doğa sevgisi, Ruhi Bey' de yöresel kökenli bir insan sevgisine dönüşmüştür. Onun resminde insan, bir model olmanın ötesinde, belli bir çevrenin inşam olarak karşımıza çıkar. Ruhi Bey'in bu sıcak yorumlu insanları, bize çalışmanın erdemini düşündürür, tüm toplumu ilgilendiren bir mutluluğun ışıklarım sezdirir. Ne var ki yaşamının son yıllarına kadar, Ruhi Bey'in sanatı yeterince anlaşılıp değerlendirilememiştir. Eserleri, müzelerimizde, torunlarmda, özel koleksiyonlarda, hatta Amerika'da (Mr. Crane'in Koleksiyonu'nda) gerçek değerlerini bulacağı günü beklemektedir. Son yıllarda çok çalıştığı için yorulan ve hastalanan Mehmet Ruhi Arel, sanat yaşamının verimli ve olgun döneminde 14 Ekim 1931 'de vefat etmiştir. Okmeydanı aile mezarlığında yatmaktadır. 282 SUMMARY The progressing stage of the art of painting starts with the westernization phase of the Otoman Empire. In 1793 this progress starts with painting lectures in the programs of Military Schools and continues with the establishment of Sanayi-i Nefise, the Fine Arts Academy in 1883. This phase is identified also by the period when started in 1908 with the assignment of selected art students to the art schools in Europe and their return to the country because of the World War I in 1914.This period is witness to the foundation of many art societies such as Ottoman Painters Society and schools such as Fine Arts Academy for Ladies and publications of newspapers of the societies and Galatasaray Exhibitions those were annually organized after 1916.There are also other significant landmarks in the story of these times of Turkish art of painting such as constitution of Şişli Atelier (1917) and Vienna Exhibition (1918). The second phase of Turkish art of painting started after the Independence War with the great leader Mustafa Kemal, the founder of The Republic of Turkey and continued until today. The generation of 1914 is the bridge between these two phases and played an impressive role on contemporary Turkish painting artists. Mehmet Ruhi AREL Mehmet Ruhi AREL was born in 1880 in Galata, district of Istanbul. His father was Halil Bey. His grandfather Haci Ali Baba, was Sheik of Kadiri from Diyarbakır, from an Ottoman kin called 'Gülşeni' family.He was graduated from Military Navy School as engineer - officer in 1900. The same year he was assigned as teacher for drawing lectures in the same school. Ruhi Arel, determined to obtain a systematical fine arts education, he started to study in Sanayi-i Nefise (Academy of Fine Arts) and became a student of master Valeri in that institution, who had given him the will to proceed on water painting and design-drawing.In 1905, he married F. Muzaffer Neyzi Hanim, and in 1906 his first son Şemseddin was born. Graduating from Sanayi-i Nefise with the highest degree of that year. In 1909 he obtained a scholarship from Sanayi-i Nefise to study in France and continued his academical pursuit in painting in Paris, I'Ecole National Superieur Des Beaux-Arts. His283 development in academical painting was achieved mostly in that schol with his studies with his master professor Fernand Anne Piestre Cormon.Ruhi Arel returned to his country because of the First World War in 1914 and stared to teach 'Perpective in Painting' in the academy. In 1917 he also started joining 'Atelier Şişli' group's workshops.His thesis in conceiving the art of painting was that it should be developed on a strong base and he always criticized approaches those detached from the modern methodology of art education. As a result, his approach had been always towards the western understanding of applying modern methodologies. But these days the approach in the academy was not in this parallel. For example it was not possible to study with totally nude models, models were always half-covered with sheets etc. Because he was protesting this situation, finally he was kept away from teaching in the academy and started teaching painting in secondary schools and in the Navy SchooLIn 1924 he was reassigned to the academy, again for teaching in perspective lectures. In 1926 his second son Orhan was born. In these days he was teaching painting in Üsküdar secondary school. Ruhi Arel had great contributions in the foundation of Ottoman Painters Society and had been a personality attracting the respect of his colleagues with his deep knowledge and cultural background. His pictures had been particpated in exhibitions in Austria, Italy and in Germany during these days. His deep knowledge in perspective was known and well admired.He was an art person, not only as a painter but played violine, and was accurate in two foreign languages English and French. His pictures always were appreciated in the native exhibitions such as 'Galatasaray Exhibitions. 'Although he studied painting in Europe for a relevantly long time he had not been 'westernized' in his understanding of selecting the subjects of his paintings, he remained a nationalist and an idealist in this sense. Therefore he was perceived differently from the painters of his generation.In his paintings he mostly tried to reflect the people and emotion of the colors and especially painted heroic army paintings with scenes from the Independence War. When compared with similar paintings of his colleagues of the same generation, his paintings are beyond the subject and to the point where the core of a problem lays.lt was not a general attitude to draw or paint the daily life of ordinary people during those days but it was so for Ruhi Arel. In 1940's 'New Painters' and 'Harbour Painters' groups started284 painting with 'local content' with influence of him. With his painting and compozition 'Stone Chippers' and 'Fund Raisers for The Red Crescent', 'Woman with the Veil', 'Mother in Exile' 'Gazi'yi İstikbal' and other similar pictures. We can see the figure painting traces in his painting 'Stone Chippers', which he focused on observing the lives of ordinary people as taking subject directly the lives of working and in their routines. His paintings reflecting sensitivity and sincerity had always been away from show and arrogance. The Painting exhibited in 1919 with in Galatasaray Exhibitions, titled Morning Prayer is one of the typical examples of his philosophy. Commented as a reflection of eastern spirit by western art criticals. What discriminated Ruhi Arel from his generation is his approach was to take human figure as a living and productive role he invisioned. This attitude shows that he was beyond from the painters of the same generation.He was also a very successful portrait painter, shown in his painting of his wife with the veil and the mantel 'ferace'. This picture with a sophisticated gusto, was painted while he was studying in Paris, reflecting the academical and classic teachings of Cormon in Paris Academy.His work hiding the effect of the design to the background with wide brush touches brings into mind the modern portrait understanding. On the other hand his approach with multi figured and multi dimensional painting is the reference point for contemporary Turkish art focusing in local and social issues. As example with his painting 'Atatürk with Peasants' we can observe the artist with an approach endeavoring his inner sensibility towards social matters. He was not strictly bound with offical rules of the art of painting. His love of nature and human had lead him rather with an approach to take humans and nature not only as a model for the painting, especially human beings are painted as specific characters. These warm characters in his paintings make the viewers sense a light of happiness, shared with the society as well as the virtue of hard work.lt is a common commment that M.Ruhi Arel has not yet been understood as his artistry deservedthough his paintings are owned by several national art museums, private collections in Europe and USA (Mr. Crane's Collection), and by his grandchildren. This precious art master unfortunately decease at an early age in 14 October 1 93 1 in Istanbul and is resting in the family cemetery in İstanbul. 480