İngiliz sanatçı Frederick Goodall'un eserlerinde doğu dünyası
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Dosyalar
Tarih
2020
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Ege Üniversitesi, Sosyal Bilimleri Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Londra'da doğan ressam Frederick Goodall, en başarılı İngiliz Oryantalist ressamlardan biridir. Sanatçı bir ailenin ferdi olması ve dönemin en meşhur İngiliz ressamlarının aile dostu olması, Frederick'in küçük yaşlardan itibaren sanata ilgi duymasına yol açmıştır. Henüz ergenlik çağındayken resimlerinden kazandığı paralar ile Fransa'ya gitmiş ve burada Maniyerist sanatçıların resimlerini incelemiştir. Patates kıtlığı döneminde (1845-1849) İrlanda'ya yapmış olduğu seyahatte dönemin koşullarının İrlanda halkı üzerindeki etkisini gösteren resimler yapmış ve daha sonra çıkmış olduğu Venedik seyahatinde ise Tintoretto gibi büyük ustaların eserlerini görme ve kopyalama şansına sahip olmuş, yine günlük yaşamdan sıradan kişilerin resimlerini yapmıştır. 1858 ve 1870 yıllarında Mısır'a seyahat etmiş, burada pek çok resim ve taslak yapmıştır. Kariyeri boyunca sahip olduğu şöhreti de Oryantalist konulu resimlerine borçludur. Goodall'un hem figür hem de manzara odaklı Oryantalist resimleri mevcuttur. Sanatçının resimlerindeki ortak nokta, dingin bir atmosferdir. Omzunda veya başının üzerinde testi ya da çocuk taşıyan kadınlar, sürü başındaki çobanlar sanatçının en sık betimlediği figürlerdir. Şehir içini tasvir ettiği resimlerinde mimariden çok figüre odaklanmıştır ve bu özelliği bakımından İngiliz Oryantalist sanatçılar arasında özel bir yere sahiptir. Doğuyu birebir görmüş olmasına karşın haremi görme imkânı bulamadığından harem konulu resimlerinde geleneksel Oryantalist sınırların dışına çıkamamıştır. Ancak çağdaşı Oryantalist ressamlar ile karşılaştırıldığında Doğu'ya, önyargıdan uzak bir gözle yaklaştığını söylemek mümkündür. ''İngiliz Sanatçı Frederick Goodall'un Eserlerinde Doğu Dünyası'' başlıklı bu çalışmada, Goodall'un Mısır temalı Oryantalist eserlerini incelemek ve daha iyi anlamak amacıyla ilk olarak Oryantalizm kavramı hem politik hem de sanatsal anlamda irdelenmiş, Osmanlı ve İngiltere ilişkileri ile iki devletin 19.yüzyıldaki sanatsal durumları ele alınarak Goodall'un yaşadığı dönemin koşulları aydınlatılmaya çalışılmıştır. Sanatçının günümüze ulaşan eserleri, konuları bağlamında incelenerek yorumlanmış ve sanatçının Oryantalist sanatçılar arasındaki yerine ve önemine değinilmiştir.
London-born painter Frederick Goodall was one of the most successful English painters of Orientalism. Having come from a family of artists and being friends with the majority of the most successful English artists at the time Frederick developed an interest in art from a small age. While a teenager he visited France to study the mannerist artists using his savings from paintings he sold. During his trip to Ireland at the time of the Irish famine (1845-1849), he portrayed the conditions the people were living under. On a later trip to Venice he had the chance to copy art pieces of great painters like Tintoretto, again by painting people in their ordinary life. In 1858 and 1870 he went to Egypt where he made plenty of paintings and drawings. During his career he had a reputation for his Orientalist style paintings, which focus on people and landscapes. The main characteristic of his work is the calm atmosphere. Women carrying a flagon or a child on their shoulder or on the head or shepherds with their flocks are the most pictured figures by the artist. In his paintings where a city is shown, he focused on the figures rather than the architecture of the buildings, this characteristic is a distinctive feature among the British Orientalist painters. Despite having been in the East he did not have access to the harem, and it's the reason he did not push the traditional Orientalist boundaries in his paintings, regarding the harem. In this study the term Orientalism is examined both politically and artistically to have a better understanding of the orientalist work of Goodall in Egypt. In order to have a better understanding of the period Goodall lived in, the relationships between the Ottoman and British Empires as well as the conditions of the arts predominated in both countries in the 19th century are taken into consideration. The artist's work is studied and interpreted within the framework of its theme and the importance of the artist among the orientalist painters is explained.
London-born painter Frederick Goodall was one of the most successful English painters of Orientalism. Having come from a family of artists and being friends with the majority of the most successful English artists at the time Frederick developed an interest in art from a small age. While a teenager he visited France to study the mannerist artists using his savings from paintings he sold. During his trip to Ireland at the time of the Irish famine (1845-1849), he portrayed the conditions the people were living under. On a later trip to Venice he had the chance to copy art pieces of great painters like Tintoretto, again by painting people in their ordinary life. In 1858 and 1870 he went to Egypt where he made plenty of paintings and drawings. During his career he had a reputation for his Orientalist style paintings, which focus on people and landscapes. The main characteristic of his work is the calm atmosphere. Women carrying a flagon or a child on their shoulder or on the head or shepherds with their flocks are the most pictured figures by the artist. In his paintings where a city is shown, he focused on the figures rather than the architecture of the buildings, this characteristic is a distinctive feature among the British Orientalist painters. Despite having been in the East he did not have access to the harem, and it's the reason he did not push the traditional Orientalist boundaries in his paintings, regarding the harem. In this study the term Orientalism is examined both politically and artistically to have a better understanding of the orientalist work of Goodall in Egypt. In order to have a better understanding of the period Goodall lived in, the relationships between the Ottoman and British Empires as well as the conditions of the arts predominated in both countries in the 19th century are taken into consideration. The artist's work is studied and interpreted within the framework of its theme and the importance of the artist among the orientalist painters is explained.
Açıklama
Anahtar Kelimeler
Frederick Goodall, Oryantalizm, Oryantalist Resim, Mısır, Osmanlı, İngiltere, Orientalism, Orientalist Painting, Egypt, Ottoman, England
