THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART

Neşe Erdok was born on 26 August 1940 in Istanbul. After completing National Academy of Fine Arts in 1963, Erdok continued her studies in Spain between 1965-1966, and in France between 1967-1972. She started to work as an assistant in the Neşet Günal Workshop of Mimar Sinan University Faculty of Fin...

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Autor principal:	Serpil YAYMAN ATASEVEN
Formato:	article
Lenguaje:	DE EN FR TR
Publicado:	Fırat University 2021
Materias:	portrait figure deformation form colour Social Sciences H Social sciences (General) H1-99
Acceso en línea:	https://doaj.org/article/359ceba492694d1b93ea542a15640258
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spelling	oai:doaj.org-article:359ceba492694d1b93ea542a156402582021-11-24T09:20:33ZTHE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART2148-416310.29228/JASSS.46339https://doaj.org/article/359ceba492694d1b93ea542a156402582021-01-01T00:00:00Zhttps://jasstudies.com/index.jsp?mod=tammetin&makaleadi=f332700f-8dfb-4d45-9b00-241f42ea4158.pdf&key=46339https://doaj.org/toc/2148-4163Neşe Erdok was born on 26 August 1940 in Istanbul. After completing National Academy of Fine Arts in 1963, Erdok continued her studies in Spain between 1965-1966, and in France between 1967-1972. She started to work as an assistant in the Neşet Günal Workshop of Mimar Sinan University Faculty of Fine Arts upon her return to Turkey. Erdok is a member of the generation of artists who brought a contemporary approach to figurative expression from the 1960s onwards. Known for her paintings based on realistic figures, Erdok depicted people from all walks of life that include people she came across in a barber shop, on a ferry, or in the street. Deformation, particularly of the face, hands, and feet, plays a prominent role in Erdok’s works. Patterns take precedence over colour in her paintings. Erdok made use of larger canvases in order to highlight the theme. Her use of plain spaces created a style of expression that brought her subjects’ inner worlds to the foreground. She depicted her deformed figures in her unique style and way of expression. The artist revived the figures in a canvas size like the actors of a frozen moment in life in a calm interior. Traces of the figures’ experiences can be easily observed from their postures by audiences.The strong composition and strong pattern transfer in her Works made her paintings easier to understand. The artist used her self-portrait frequently in her paintings where she exhibited some sequences of her private life. This study aims to examine the stylistic properties of Neşe Erdok’s paintings and emphasize her place and importance in Turkish art of painting. In the research, Nese Erdok’s paintings, which take part in the new art generation known as ‘the 1960s generation’ and put forth a contemporary perceptive on the figure interpretation, has been tried to interpret within the scope of the themes that she has discussed by years. In this research, the artist’s paintings have been approached with regard to form, theme and content. The art historian Erwin Panofsky’s iconology method has been channelled into the paintings’ interpretation.Serpil YAYMAN ATASEVENFırat UniversityarticleportraitfiguredeformationformcolourSocial SciencesHSocial sciences (General)H1-99DEENFRTRJournal of Academic Social Science Studies , Vol 13, Iss 83, Pp 265-280 (2021)
institution	DOAJ
collection	DOAJ
language	DE EN FR TR
topic	portrait figure deformation form colour Social Sciences H Social sciences (General) H1-99
spellingShingle	portrait figure deformation form colour Social Sciences H Social sciences (General) H1-99 Serpil YAYMAN ATASEVEN THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART
description	Neşe Erdok was born on 26 August 1940 in Istanbul. After completing National Academy of Fine Arts in 1963, Erdok continued her studies in Spain between 1965-1966, and in France between 1967-1972. She started to work as an assistant in the Neşet Günal Workshop of Mimar Sinan University Faculty of Fine Arts upon her return to Turkey. Erdok is a member of the generation of artists who brought a contemporary approach to figurative expression from the 1960s onwards. Known for her paintings based on realistic figures, Erdok depicted people from all walks of life that include people she came across in a barber shop, on a ferry, or in the street. Deformation, particularly of the face, hands, and feet, plays a prominent role in Erdok’s works. Patterns take precedence over colour in her paintings. Erdok made use of larger canvases in order to highlight the theme. Her use of plain spaces created a style of expression that brought her subjects’ inner worlds to the foreground. She depicted her deformed figures in her unique style and way of expression. The artist revived the figures in a canvas size like the actors of a frozen moment in life in a calm interior. Traces of the figures’ experiences can be easily observed from their postures by audiences.The strong composition and strong pattern transfer in her Works made her paintings easier to understand. The artist used her self-portrait frequently in her paintings where she exhibited some sequences of her private life. This study aims to examine the stylistic properties of Neşe Erdok’s paintings and emphasize her place and importance in Turkish art of painting. In the research, Nese Erdok’s paintings, which take part in the new art generation known as ‘the 1960s generation’ and put forth a contemporary perceptive on the figure interpretation, has been tried to interpret within the scope of the themes that she has discussed by years. In this research, the artist’s paintings have been approached with regard to form, theme and content. The art historian Erwin Panofsky’s iconology method has been channelled into the paintings’ interpretation.
format	article
author	Serpil YAYMAN ATASEVEN
author_facet	Serpil YAYMAN ATASEVEN
author_sort	Serpil YAYMAN ATASEVEN
title	THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART
title_short	THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART
title_full	THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART
title_fullStr	THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART
title_full_unstemmed	THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART
title_sort	figures in nese erdok’s paintings as a part of the social realism art
publisher	Fırat University
publishDate	2021
url	https://doaj.org/article/359ceba492694d1b93ea542a15640258
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THE FIGURES IN NESE ERDOK’S PAINTINGS AS A PART OF THE SOCIAL REALISM ART

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