{"id":7005,"date":"2023-06-22T22:37:41","date_gmt":"2023-06-22T19:37:41","guid":{"rendered":"https:\/\/www.mustafasevdim.com\/?p=7005"},"modified":"2024-06-24T15:55:01","modified_gmt":"2024-06-24T12:55:01","slug":"buyulu-gerceklik","status":"publish","type":"post","link":"https:\/\/www.mustafasevdim.com\/index.php\/buyulu-gerceklik\/","title":{"rendered":"B\u00fcy\u00fcl\u00fc Ger\u00e7eklik"},"content":{"rendered":"\n

20. y\u00fczy\u0131la yakla\u015f\u0131rken sanat\u00e7\u0131lar r\u00f6nesans d\u00f6nemine k\u0131yasla, d\u00fcnyay\u0131 oldu\u011fu gibi de\u011fil, i\u00e7sel duygular\u0131n\u0131 ve fantezilerini ger\u00e7eklikten uzakla\u015farak ifade etmek istediler. D\u0131\u015favurumculuk (Ekspresyonizm) sanat\u0131n amac\u0131 ve sanat tarihi a\u00e7\u0131s\u0131ndan \u00f6nemli bir hareket oldu. \u00d6nce \u015fiir ve resimde ortaya \u00e7\u0131kan ak\u0131m, Weimar Cumhuriyeti s\u0131ras\u0131nda; mimari, edebiyat, tiyatro, m\u00fczik ve film olmak \u00fczere geni\u015f bir sanat alan\u0131nda yay\u0131ld\u0131. Bu ak\u0131mda sanat\u00e7\u0131 i\u00e7sel duygular\u0131n\u0131 ifade ederken eserlerinde ger\u00e7ekli\u011fin g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc \u00e7arp\u0131t\u0131r. Modernizm\u2019in etkilerinin artarak g\u00f6r\u00fcld\u00fc\u011f\u00fc bu d\u00f6nemin en bilinen eseri Edvard Munch\u2019a ait \u201c\u00c7\u0131\u011fl\u0131k\u201d \u00b9 adl\u0131 tablosudur. D\u00f6nemi en iyi ifade eden eserlerinden biri olan tablo; bir bak\u0131\u015fta insanl\u0131k durumunun kayg\u0131s\u0131n\u0131, yo\u011fun endi\u015fe ve huzursuzluk duygusunu yarat\u0131r. D\u0131\u015favurumculuk \u2019da halk\u0131 rahats\u0131z eden, do\u011fan\u0131n \u00e7arp\u0131t\u0131lmas\u0131ndan daha \u00e7ok, g\u00fczellikten uzakla\u015f\u0131lmas\u0131 oldu.  <\/p>\n\n\n\n

<\/p>\n\n\n\n

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Edvard Munch – \u00c7\u0131\u011fl\u0131k <\/strong><\/figcaption><\/figure>\n\n\n\n

I.D\u00fcnya sava\u015f\u0131, sanat ak\u0131mlar\u0131n\u0131n i\u00e7 i\u00e7e ge\u00e7ti\u011fi bir d\u00f6nem oldu. Sava\u015f\u0131n deh\u015fetine, g\u00fcndelik ya\u015famdaki akla ve mant\u0131\u011fa tepki olarak \u201cDada\u201d ak\u0131m\u0131 ortaya \u00e7\u0131kt\u0131. Bir\u00e7ok \u00fclkeden kat\u0131l\u0131mc\u0131s\u0131 olan \u201cDada\u201d gayri resmi bir hareketti. Dadaist\u2019ler sava\u015f\u0131n sebebini burjuva milliyet\u00e7i ve s\u00f6m\u00fcrgeci zihniyete ba\u011fl\u0131yor, sanat\u0131 bu d\u00fc\u015f\u00fcnce ile protesto arac\u0131 olarak kullan\u0131yorlard\u0131. Bu y\u00fczden baz\u0131 dergiler yasakland\u0131 ve baz\u0131 sanat\u00e7\u0131lar hapis cezas\u0131na \u00e7arpt\u0131r\u0131ld\u0131lar. K\u00fcbizm ve F\u00fct\u00fcrizm\u2019 den etkilenen Dada ak\u0131m\u0131 a\u011f\u0131rl\u0131kl\u0131 olarak Almanya, Fransa ve \u0130talya merkezli bir hareket oldu. Sanat\u00e7\u0131lara g\u00f6re Dadaizm; sava\u015f\u0131n vah\u015fetine tepki olarak \u201canti-sanat hareketi idi. \u201cDada\u201d kelimesini -\u0130ddiaya g\u00f6re- Tristan Tzara icat etmi\u015fti. Bir di\u011fer hik\u00e2yeye g\u00f6re; Alman sanat\u00e7\u0131 Richard Huelsenbeck rastgele olarak bir s\u00f6zl\u00fc\u011fe ayra\u00e7 koyarak Frans\u0131zca \u201coyuncak tahta at\u201d (Dada) kelimesine denk geldi ve bu ak\u0131ma \u201cDada\u201d ismini koydular. <\/p>\n\n\n\n

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Tristan Tzara \u2013 Sans Titre (1922) <\/strong><\/figcaption><\/figure>\n\n\n\n

Weimar Cumhuriyeti <\/strong><\/h2>\n\n\n\n

1.D\u00fcnya Sava\u015f\u2019\u0131n\u0131n son g\u00fcnlerinde 1918 sonbahar\u0131nda Kiel\u2019deki askeri deniz \u00fcss\u00fcnde, Alman denizcilerin isyan\u0131 ile ba\u015flayan s\u00fcrecin sonunda cumhuriyet ilan edilmi\u015fti. Monar\u015fi y\u0131k\u0131ld\u0131 ve imparatorluktan Cumhuriyete ge\u00e7i\u015f sa\u011fland\u0131. Yine de monar\u015fiye \u00e7ok benzeyen bir \u015fekilde devam eden y\u00f6netim d\u00f6nemi, ekonomik sorunlar\u0131n artaca\u011f\u0131 bir d\u00f6nem oldu. Yakla\u015f\u0131k bir y\u0131l sonra Weimar anayasas\u0131 kabul edildi. Tazminatlar ve sava\u015f maliyetleri ekonomik ve sosyal y\u0131k\u0131ma yol a\u00e7t\u0131. Kriz y\u0131llar\u0131 olumsuz etkileri ile sadece siyaseti de\u011fil toplumu da b\u00f6lm\u00fc\u015ft\u00fc. Hiper enflasyonun boyutunu tarif etmek i\u00e7in, 1923 \u2018de ekmek fiyat\u0131n\u0131n 200 milyar Mark oldu\u011funu belirtmem yeterli olur san\u0131r\u0131m. \u00b2 <\/p>\n\n\n\n

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Yeni Nesnellik<\/strong> <\/h2>\n\n\n\n

I.D\u00fcnya Sava\u015f\u0131\u2019na kadar sanat d\u00fcnyas\u0131 Ekspresyonizm \u2019in etkileri alt\u0131ndayd\u0131. 1920\u2019lerde sokaklarda I. D\u00fcnya sava\u015f\u0131n\u0131n ma\u011fdurlar\u0131n\u0131 g\u00f6r\u00fcyordunuz: gaziler, i\u015fsizler, fahi\u015feler. N\u00fcfusun yakla\u015f\u0131k 20% si sava\u015f zayiat\u0131yd\u0131. Tam da bu ekonomik ve toplumsal a\u00e7\u0131dan kaosun h\u00e2kim oldu\u011fu d\u00f6nemde d\u0131\u015favurumculu\u011fun \u00f6znel yakla\u015f\u0131m\u0131ndan uzakla\u015fan sanat\u00e7\u0131lar farkl\u0131 bir ak\u0131m ba\u015flatt\u0131lar. Ger\u00e7ekli\u011fin \u00e7irkin y\u00fcz\u00fcn\u00fc ortaya \u00e7\u0131karan daha i\u011fneleyici ve k\u0131\u015fk\u0131rtan eserler \u00fcrettiler. Sanat tarih\u00e7isi ve ele\u015ftirmeni Franz Roh bu hareketi \u2018Post Expressionism: Magic Realism\u2019<\/strong> adl\u0131 kitab\u0131nda \u2018B\u00fcy\u00fcl\u00fc Ger\u00e7eklik\u2019 olarak adland\u0131rd\u0131. D\u00f6nemin bu sanat hareketi ile ilgili \u201cyeni nesnellik\u201d terimini ise ilk olarak kullanan Gustav Friedrich Hartlaub oldu. 1925\u2019te post-expresyonist sanat\u00e7\u0131lar\u0131n eserlerinden olu\u015fan sanat sergisine ba\u015fl\u0131k olarak kulland\u0131. \u00d6nce resim sanat\u0131nda g\u00f6r\u00fclen hareketin izleri daha sonras\u0131nda; foto\u011fraf, edebiyat, sanat, m\u00fczik ve mimaride de g\u00f6r\u00fclecekti.  <\/p>\n\n\n\n

Sava\u015f ve sanat<\/strong> <\/h2>\n\n\n\n

1.D\u00fcnya sava\u015f\u0131 sanat\u00e7\u0131 ve yazarlar taraf\u0131ndan, vatanda\u015flar gibi memnuniyetle kar\u015f\u0131lanm\u0131\u015ft\u0131. Kimi milliyet\u00e7i duygular kimi g\u00f6rev duygusu ve \u201canlams\u0131zca\u201d macera pe\u015finde; I. D\u00fcnya sava\u015f\u0131na \u00fclkenin gelece\u011fi i\u00e7in g\u00f6n\u00fcll\u00fc olarak kat\u0131ld\u0131lar. Tabii Grosz gibi baz\u0131 sanat\u00e7\u0131lar sava\u015f\u0131 reddetse de \u201cg\u00f6n\u00fcls\u00fczce g\u00f6n\u00fcll\u00fc\u201d oldular. \u00c7at\u0131\u015fmalar\u0131 yakinen deneyimleyen sanat\u00e7\u0131lar \u201ckaosu, \u00f6fkeyi ve katliam\u0131 -hayal k\u0131r\u0131kl\u0131\u011f\u0131n\u0131- eserlerine yans\u0131tt\u0131lar. Bu s\u00fcre\u00e7te, sava\u015fta ya\u015fad\u0131klar\u0131 travmalar\u0131n olumsuz etkileri \u201cYeni Nesnellik\u201d sanat\u00e7\u0131lar\u0131n\u0131n eserlerine \u00f6yle bir yans\u0131m\u0131\u015ft\u0131 ki; sava\u015f\u0131n izlerini, d\u00f6nemin ahlaki \u00e7\u00f6k\u00fc\u015flerini, yayg\u0131n olarak fahi\u015feleri a\u015fa\u011f\u0131layan tasvirleri ile tiksinti uyand\u0131rmay\u0131 da ba\u015fard\u0131lar. \u201cYeni nesnellik\u201d ak\u0131m\u0131 eserlerinde; yara izi, sivilce, sakatl\u0131klar gizlenmez. Aksine vurgulanarak izleyiciye sunulur.  <\/p>\n\n\n\n

\u201c…Sava\u015f yetenekli sanat\u00e7\u0131lar i\u00e7in bir okul olmal\u0131d\u0131r. \u00c7at\u0131\u015fmalarla y\u0131k\u0131lm\u0131\u015f do\u011fan\u0131n resimsel zenginli\u011fi ve sava\u015f\u0131n korkutucu g\u00fczelli\u011fi sava\u015fan sanat\u00e7\u0131lar\u0131 b\u00fcy\u00fcleyecektir… Sava\u015f\u0131n sanat\u0131m\u0131za \u00f6nemli bir katk\u0131da bulunaca\u011f\u0131 kesindir.\u201d \u00b9\u2077 demi\u015fti sanat ve sanat\u00e7\u0131lar dergisinin edit\u00f6r\u00fc Karl Scheffler<\/strong>. Sava\u015f\u0131n sanata etkisinin halen tart\u0131\u015f\u0131ld\u0131\u011f\u0131 g\u00fcn\u00fcm\u00fczde\u00b3, etkilerinin ka\u00e7\u0131n\u0131lmazl\u0131\u011f\u0131 ile y\u00fczle\u015fiyoruz. <\/p>\n\n\n\n

D\u0131\u015favurumculuk ve Dada sanat ak\u0131m\u0131ndan da bilinen; Max Beckmann<\/a>, Otto Dix<\/a>,\u202fGeorge Grosz<\/a>,\u202fChristian Schad<\/a>,\u202fRudolf Schlichter<\/a>\u202fand\u202fJeanne Mammen<\/a> , August Sander, Albert Renger-Patzsch gibi sanat\u00e7\u0131lar sava\u015f\u0131 ve etkilerini; Weimar Cumhuriyeti d\u00f6neminin sosyal karga\u015fas\u0131 ve yozla\u015fmas\u0131n\u0131 \u00e7al\u0131\u015fmalar\u0131na yans\u0131tt\u0131lar. <\/p>\n\n\n\n

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Yeni nesnellik ak\u0131m\u0131n\u0131n en iyi \u00f6rneklerinden \u201cThe Night – Beckmann \u201c<\/strong> <\/figcaption><\/figure>\n\n\n\n

Beckmann<\/strong> <\/h2>\n\n\n\n

 Ressam Max Beckmann<\/a> 1914 \u2018te sava\u015f\u0131n Tabipler Birli\u011fine g\u00f6n\u00fcll\u00fc kat\u0131larak askere gitti. \u2074 Ancak bir y\u0131l sonra sinir krizi ge\u00e7irdi ve terhis oldu. Bu travma sonraki eserlerinde etkileyici fig\u00fcrler yaratmas\u0131 i\u00e7in etkili oldu. Resimlerinde genellikle keskin \u00e7izgiler, cesur renkler ve \u00e7arp\u0131k formlar kullanan Beckman\u2019\u0131n, 1937\u2019de profes\u00f6rl\u00fc\u011f\u00fc sona erdirilip, eserleri \u201cdejenere sanat\u201d sergilerinde g\u00f6sterilmeye ba\u015flay\u0131nca; \u00f6nce Amsterdam ve sonras\u0131nda 1950 \u2018de hayat\u0131n\u0131 kaybedece\u011fi New York\u2019a ka\u00e7t\u0131. 20. Y\u00fczy\u0131l\u0131n \u00f6nemli sanat\u00e7\u0131lar\u0131ndan biri olarak kabul edilen Beckman\u2019\u0131n eserleri koleksiyoncular\u0131n pazar\u0131nda rekor fiyatlara al\u0131c\u0131 buluyordu. Ku\u015f Cehennemi isimli \u00e7al\u0131\u015fmas\u0131 2017 y\u0131l\u0131nda 45,8 milyon dolara sat\u0131ld\u0131. <\/p>\n\n\n\n

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Birds Hell, Ku\u015f Cehennemi – Beckman<\/strong> <\/figcaption><\/figure>\n\n\n\n

Dix<\/strong> <\/h2>\n\n\n\n

1920\u2019de George Grosz ile tan\u0131\u015fan Otto Dix de g\u00f6n\u00fcll\u00fc asker olarak I. D\u00fcnya sava\u015f\u0131na kat\u0131lm\u0131\u015f, yaralanm\u0131\u015f ve sava\u015f\u0131n trajedisini eserlerine yans\u0131tm\u0131\u015ft\u0131. Duygusall\u0131ktan uzak ger\u00e7ekli\u011fi, yoksullu\u011fu, sava\u015f\u0131n karanl\u0131k y\u00f6nlerini resimlerine yans\u0131tan sanat\u00e7\u0131 Federal Almanya Cumhuriyeti Liyakat Ni\u015fan\u0131 sahibi idi. Sanat\u00e7\u0131n\u0131n en bilinen; \u2018Yeni Nesnellik\u2019 tarz\u0131n\u0131 yans\u0131tan eserlerinden biri “The Trench”(Siper)\u2079 dir. Tablo sava\u015f\u0131n y\u0131k\u0131c\u0131 sonu\u00e7lar\u0131n\u0131 ve vah\u015fetini tasvir etmektedir. Sanat\u00e7\u0131 \u00e7al\u0131\u015fmalar\u0131nda i\u015f\u00e7i s\u0131n\u0131f\u0131 m\u00fccadeleleri, fuhu\u015f, alkolizm cinsel kimlik gibi konular\u0131 i\u015flemi\u015ftir.Yeni kad\u0131n modeline \u00f6rnek olarak \u201candrojen\u201d cinsiyet kimli\u011fi ile gazeteci ve \u015fair Sylvia Von Harden\u2019in portresi ile Philip Roth\u2019un 1995 ulusal Roman Kitap \u00f6d\u00fcl\u00fcn\u00fc kazand\u0131\u011f\u0131 kitab\u0131 \u2018Sabath Tiyatrosu\u2019 adl\u0131 kitab\u0131n\u0131n kapak resmi de olan \u2018denizci ve K\u0131z\u2019 g\u00f6sterilebilir. Sanat\u00e7\u0131n\u0131n \u201cSiper\u201d isimli eseri 1923\u2019te K\u00f6ln\u2019de bulunan Wallraf\u2013Richartz m\u00fczesinde gri bir perdenin arkas\u0131nda sergilenmi\u015f oldu\u011fu halde askerler taraf\u0131ndan protesto edildi. Di\u011fer yandan ele\u015ftirmenler taraf\u0131ndan da \u00f6v\u00fcld\u00fc. <\/p>\n\n\n\n

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  Sylvia Von Harden \u2013 Dix <\/figcaption><\/figure>\n\n\n\n
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         Sailor and girl – Dix<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

<\/p>\n\n\n\n

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Trench \u2013 Otto Dix <\/strong><\/figcaption><\/figure>\n\n\n\n

Grosz<\/strong> <\/h2>\n\n\n\n

\u201cVah\u015fet! Ac\u0131 veren netlik! Uyumak i\u00e7in yeterince m\u00fczik var!.. Yapabildi\u011finiz kadar h\u0131zl\u0131 resim yap\u0131n! \u2013 H\u0131zla ak\u0131p giden zaman\u0131 yakalay\u0131n..\u201d <\/p>\n\n\n\n

Grotesk imgelere olan tutkusuyla; suluboya, kalem ve m\u00fcrekkep ile \u00e7al\u0131\u015fmalar yapan \u2018George Grosz\u2019 ressaml\u0131k becerisini k\u00fcbist ve F\u00fct\u00fcrist tarzlar\u0131 ile birle\u015ftirerek nesnel, sosyal-ger\u00e7ek\u00e7i bir tarz olu\u015fturdu. Kendine \u00f6zg\u00fc tarz\u0131n\u0131 \u00e7a\u011fda\u015f toplumun ahlaki bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 vurgulayan eserlerinde kulland\u0131.  <\/p>\n\n\n\n

Berlin\u2019de do\u011fan ve Polonya\u2019da b\u00fcy\u00fcyen Grosz, Glot adl\u0131 bir ressam\u0131n \u00e7izim kursuna kat\u0131larak kendini geli\u015ftirdi. 1917 de askere al\u0131nd\u0131 ancak be\u015f ay sonra uygun olmad\u0131\u011f\u0131 belirtilerek terhis edildi. 1920\u2019de yay\u0131nlad\u0131\u011f\u0131 \u00e7izim koleksiyonu, Gott mit Uns (Tanr\u0131 bizimle) \u00e7al\u0131\u015fmas\u0131 y\u00fcz\u00fcnden, orduya hakaretten su\u00e7lanarak para cezas\u0131 ald\u0131 ve bask\u0131 plakalar\u0131na da el konuldu. Kom\u00fcnist Sanat\u00e7\u0131lar Birli\u011fi (Rote Gruppe) ba\u015fkanl\u0131\u011f\u0131 da (1924) yapan Grosz\u2019\u0131n kalem, suluboya ve m\u00fcrekkep ile yapt\u0131\u011f\u0131 \u00e7izimleri; Weimar Cumhuriyeti, yozla\u015fm\u0131\u015f politikac\u0131lar, fahi\u015feler, yaral\u0131 askerler ve seks partileri hakk\u0131ndayd\u0131. Sanat ele\u015ftirmeni Werner Spies’a g\u00f6re, \u201cGrosz’un kalem ve f\u0131r\u00e7a darbelerinde \u2018Alman g\u00f6r\u00fcn\u00fcm\u00fc\u2019 asla d\u00fczelmedi\u201d. <\/p>\n\n\n\n

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Strenght And Grace – Grosz<\/strong><\/figcaption><\/figure>\n\n\n\n

Grosz 1933\u2019te Amerika\u2019ya g\u00f6\u00e7 etmeden \u00f6nce 1926\u2019da yapm\u0131\u015f oldu\u011fu, \u201cEclipse of the Sun\u201d adl\u0131 ya\u011fl\u0131boya tablo 1968\u2019de \u201cHeckscher Museum of Art<\/a>\u2077\u201d taraf\u0131ndan 15.000 dolara sat\u0131n al\u0131nd\u0131. \u00d6demesi halktan abonelik yolu ile toplanan tabloya, 2006 y\u0131l\u0131nda 10 milyon dolar teklif edildi ise de halk m\u00fczenin satmas\u0131na izin vermedi. Berlin\u2019e yolu d\u00fc\u015fenler i\u00e7in, ge\u00e7en y\u0131l (2022) a\u00e7\u0131lan \u201cDas Kleine Grosz Museum\u201d \u2078 gezilebilir. <\/p>\n\n\n\n

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Eclipse of the Sun – Grosz <\/strong><\/figcaption><\/figure>\n\n\n\n

Foto\u011frafta Yeni Nesnellik<\/strong> <\/h2>\n\n\n\n

Foto\u011fraf, modern d\u00fcnyan\u0131n nesnel ve ger\u00e7ekli\u011fini yakalama yetene\u011fi ile Yeni Nesnellik sanat\u00e7\u0131lar\u0131n\u0131n ama\u00e7lar\u0131na \u00e7ok uygundu. August Sander, Albert Renger-Patzsch, Christian Schad ve Karl Blossfeldt gibi Yeni Nesnellik hareketiyle ili\u015fkili foto\u011fraf\u00e7\u0131lar, belgesel bir yakla\u015f\u0131m ile d\u00fcnyay\u0131 oldu\u011fu gibi yakalamaya \u00e7al\u0131\u015ft\u0131lar. Foto\u011fraflar\u0131nda y\u00fcksek d\u00fczeyde detay yakalamaya \u00e7al\u0131\u015fan sanat\u00e7\u0131lar; S\u0131radan insanlar\u0131, nesneleri, manzaralar\u0131 g\u00f6r\u00fcnt\u00fclediler. <\/p>\n\n\n\n

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August Sander, Duvar Ustas\u0131 <\/strong><\/figcaption><\/figure>\n\n\n\n

\u201cFoto\u011frafla ayd\u0131nlat\u0131lamayan g\u00f6lge olmamal\u0131d\u0131r\u201d  <\/p>\n\n\n\n

August Sander <\/p>\n\n\n\n

Sander<\/strong> <\/h2>\n\n\n\n

En b\u00fcy\u00fck sosyo-tarihsel belgeselcilerden biri olarak de\u011ferlendirilen Sander\u00b9\u2070, geni\u015f formatl\u0131 bir kamera ve sade bir stil ile cam negatiflere ve uzun pozlama s\u00fcrelerine ba\u011fl\u0131 kalarak farkl\u0131 sosyal s\u0131n\u0131flara ait insanlar\u0131 foto\u011fraflad\u0131. 20. Y\u00fczy\u0131l\u0131n insanlar\u0131 (People of the 20th Century) portre serisi ile Weimar cumhuriyeti d\u00f6nemi toplumundan kesitler g\u00f6stermeyi ama\u00e7lam\u0131\u015ft\u0131. Sander’\u0131n portrelerindeki insanlar yaln\u0131zca i\u015flerine veya sosyal s\u0131n\u0131flar\u0131na g\u00f6re tan\u0131mlan\u0131r. Yeni nesnellik foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131 i\u00e7in ufuk a\u00e7\u0131c\u0131 bir \u00f6rnek olarak kabul edilen bu seride; sanat\u00e7\u0131lar, \u00e7ift\u00e7i, nitelikli esnaf, kad\u0131n, s\u0131n\u0131flar ve meslekler, \u015fehir ve evsizler, gaziler olarak yedi b\u00f6l\u00fcm vard\u0131. Hayat\u0131 Nazi rejimi alt\u0131nda b\u00fcy\u00fck \u00f6l\u00e7\u00fcde k\u0131s\u0131tlanm\u0131\u015f olsa da, 20. Y\u00fczy\u0131l\u0131n insanlar\u0131 foto\u011fraf projesi serisinden, altm\u0131\u015f portreden olu\u015fan bir se\u00e7ki ile \u201cFace of Our Time\u201d adl\u0131 kitab\u0131n\u0131 yay\u0131nlad\u0131.<\/p>\n\n\n\n

\"\"
Albert Renger-Patzsch –  Nesnelerin Perspektifi\u202f<\/strong><\/figcaption><\/figure>\n\n\n\n

\u201cD\u00fcnya G\u00fczeldir\u201d \u00b9\u00b2<\/strong> <\/h2>\n\n\n\n

\u201cFoto\u011frafta mutlaka nesnenin \u00f6z\u00fcnden yola \u00e7\u0131k\u0131lmal\u0131 ve onu yaln\u0131zca fotografik terimlerle temsil etmeye \u00e7al\u0131\u015f\u0131lmal\u0131d\u0131r.\u201d <\/p>\n\n\n\n

1929\u2019da Albert Renger-Patzsch modern ve nesnel foto\u011fraflardan olu\u015fan kitab\u0131na bu ismi vermi\u015fti; \u201cThe World is Beautiful\u201d. 12 ya\u015f\u0131nda foto\u011fraf \u00e7ekmeye ba\u015flayan Renger-Patzsch Alman yeni nesnelli\u011finin \u00f6nemli savunucular\u0131ndan biridir. \u00c7ok \u00e7e\u015fitli konular\u0131 ve t\u00fcrleri ke\u015ffeden \u00fcretken bir foto\u011fraf\u00e7\u0131 olan Patzsch, foto\u011fraf\u0131n modern sanat i\u00e7erisinde \u00f6nemli bir yer almas\u0131n\u0131 sa\u011flayan eserler \u00fcretmi\u015ftir. Onun i\u00e7in foto\u011fraf sanatsal imgeleme bi\u00e7imlerini m\u00fcmk\u00fcn k\u0131lan bir ara\u00e7t\u0131. Basit g\u00f6r\u00fcnt\u00fcleri ola\u011fan\u00fcst\u00fc ger\u00e7ek\u00e7ilik ile sunarak g\u00fc\u00e7l\u00fc anlat\u0131mlar y\u00fckl\u00fcyordu. <\/p>\n\n\n\n

Yine de Walter Benjamin \u201cfoto\u011fraf\u0131n K\u0131sa Tarihi\u201d \u00b9\u00b3 adl\u0131 makalesinde nesnel olan\u0131 yakalama kayg\u0131s\u0131ndan bahsederek, foto\u011fraf sanat\u00e7\u0131s\u0131na \u2018mekanik olan\u0131 fetheden ruh, hayattaki benzerli\u011fe yorumcu\u2019 rol\u00fcn\u00fc bi\u00e7er. Feti\u015fle\u015ftirilen \u2018yarat\u0131c\u0131 ilke<\/strong>\u2019nin varl\u0131\u011f\u0131n\u0131 moda \u0131\u015f\u0131k de\u011fi\u015fimlerine bor\u00e7lu oldu\u011funu belirtir ve ilkesini de \u201cD\u00fcnya G\u00fczel\u201d \u015feklinde ifade edilir demi\u015f; imgelerin ke\u015ffinden ziyade foto\u011fraflar\u0131n sat\u0131labilirli\u011fine a\u011f\u0131rl\u0131k veren, maskesiz bir foto\u011fraf anlay\u0131\u015f\u0131 oldu\u011funu belirterek a\u00e7\u0131k\u00e7a ele\u015ftirmi\u015ftir. Di\u011fer yandan Carl Georg Heise, 100 eserden biri olan \u201cGrass Snake\u201d hakk\u0131nda giri\u015f b\u00f6l\u00fcm\u00fcne \u015fu \u00f6vg\u00fcleri yazarak sanki Benjamin\u2019e cevap vermi\u015fti. <\/p>\n\n\n\n

“Y\u0131lan\u0131n ba\u015f\u0131, v\u00fccudunun k\u0131vr\u0131mlar\u0131na \u00f6yle bir oturuyor ki, sayfa dolu g\u00f6r\u00fcn\u00fcyor. Pullardan olu\u015fan dekoratif bir desenle, izleyicinin hayal g\u00fcc\u00fcn\u00fcn esrarengiz bir \u015fekilde sonsuza kadar uzand\u0131\u011f\u0131 bir desen. B\u00f6ylece, tek bir y\u0131lan\u0131n \u00f6tesinde, foto\u011fraf t\u00fcm t\u00fcr\u00fc sunuyor.” \u00b9\u2074 <\/p>\n\n\n\n

\"\"
Albert Renger-Patzsch –  Y\u0131lan\u0131n Ba\u015f\u0131<\/strong><\/figcaption><\/figure>\n\n\n\n

Karl Blossfeldt \u00b9\u2075<\/strong> <\/h2>\n\n\n\n

\u201cArt forms in nature\u201d ile \u00fcnlenen sanat\u00e7\u0131, heykeltra\u015f olarak ba\u015flayan sanat yolculu\u011funa botanik \u00fcr\u00fcnleri foto\u011fraf\u00e7\u0131s\u0131 olarak devam etmi\u015fti. Sanat\u00e7\u0131 bu y\u00f6neliminde, -burslu olarak ba\u015flad\u0131\u011f\u0131- \u2018School of the Museum of Decorative Arts\u2018 okulunda tasar\u0131m profes\u00f6r\u00fc Moritz Meurer\u2019den etkilenmi\u015fti. Birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131 d\u00f6nemde Kuzey Afrika ve Yunanistan\u2019dan \u00f6rnekler toplad\u0131. S\u00fcrrealizm ve yeni nesnellik ile ili\u015fkilendirilen sanat\u00e7\u0131 1930\u2019da fahri profes\u00f6r oldu ve bitki foto\u011fraf\u0131 ar\u015fivi kurdu. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Resmi olarak foto\u011fraf\u00e7\u0131l\u0131k e\u011fitimi almam\u0131\u015f olan sanat\u00e7\u0131, makro foto\u011fraf\u00e7\u0131l\u0131kta uzmanla\u015farak bunun i\u00e7in kamera dahi tasarlam\u0131\u015ft\u0131. Siyah-beyaz bitki foto\u011fraflar\u0131yla tan\u0131nan Blossfeldt d\u00f6neminin sanat\u00e7\u0131lar\u0131 taraf\u0131ndan da \u00f6vg\u00fcler ald\u0131. Benjamin sinema i\u00e7in kulland\u0131\u011f\u0131 \u201coptik bilin\u00e7d\u0131\u015f\u0131\u201d ifadesini Blossfeldt\u2019in eserleri i\u00e7in kulland\u0131\u011f\u0131nda, modern sanat ve foto\u011fraf\u00e7\u0131l\u0131kta onu yeniden konumland\u0131rm\u0131\u015ft\u0131. <\/p>\n\n\n\n

Yeni nesnelli\u011fin etkisi 1930\u2019larda Weimar Cumhuriyeti ile sona erdi. Naziler\u00b9\u2076 d\u00fcnya g\u00f6r\u00fc\u015flerine uymayan bu -yozla\u015fm\u0131\u015f- sanat\u0131, temizleme kampanyalar\u0131 ile k\u00fclt\u00fcrel tasfiyeler ile sonland\u0131rd\u0131lar. Bir\u00e7ok sanat\u00e7\u0131 da s\u00fcrg\u00fcne gitmek zorunda kalm\u0131\u015ft\u0131. Naziler taraf\u0131ndan \u201cyozla\u015fm\u0131\u015f sanat\u201d olarak nitelendi\u011fi i\u00e7in foto\u011fraf da dahil yeni nesnellik hareketi bast\u0131r\u0131ld\u0131 ve eserlerin \u00e7o\u011fu yok edildi. Sanat\u00e7\u0131lar\u0131 da s\u00fcrg\u00fcne g\u00f6ndermi\u015f olsa da 1960\u2019lara kadar sanat\u00e7\u0131lar farkl\u0131 \u00fclkelerde \u00fcretmeye devam ettiler. Yine de  \u2018Yeni Nesnellik\u2019 in etkisi Alman fenomeni olarak kald\u0131. <\/p>\n\n\n\n

Kaynaklar:<\/strong> <\/h2>\n\n\n\n
    \n
  1. \u0130lk sergilendi\u011finde ki Almanca ad\u0131 \u201cDer Schrei der Natur\u201d  (Do\u011fan\u0131n \u00c7\u0131\u011fl\u0131\u011f\u0131) <\/li>\n<\/ol>\n\n\n\n
      \n
    1. ( Geof Layton- Weimar cumhuriyetinin k\u0131sa tarihi sayfa 119). <\/li>\n<\/ol>\n\n\n\n
        \n
      1. Sava\u015f ve sanata, sanat\u00e7\u0131ya etkisi <\/li>\n<\/ol>\n\n\n\n
          \n
        1. Los Angeles Times<\/a> <\/li>\n<\/ol>\n\n\n\n
            \n
          1. Met Museum<\/a> <\/li>\n<\/ol>\n\n\n\n
              \n
            1. Beckman<\/a> <\/li>\n<\/ol>\n\n\n\n
                \n
              1. Dada<\/a> <\/li>\n<\/ol>\n\n\n\n
                  \n
                1. Ekspresyonizm<\/a> <\/li>\n<\/ol>\n\n\n\n
                    \n
                  1. Heckscher Museum of Art<\/a> <\/li>\n<\/ol>\n\n\n\n
                      \n
                    1. Das Kleine Grosz Museum<\/a> <\/li>\n<\/ol>\n\n\n\n
                        \n
                      1. The Trench<\/a> <\/li>\n<\/ol>\n\n\n\n
                          \n
                        1. August Sander<\/a> <\/li>\n<\/ol>\n\n\n\n
                            \n
                          1. Art Story<\/a> <\/li>\n<\/ol>\n\n\n\n
                              \n
                            1. The literate lens<\/a> <\/li>\n<\/ol>\n\n\n\n
                                \n
                              1. Hero<\/a> <\/li>\n<\/ol>\n\n\n\n
                                  \n
                                1. Tate<\/a> <\/li>\n<\/ol>\n\n\n\n
                                    \n
                                  1. Albert Renger-Patzsch<\/a> <\/li>\n<\/ol>\n\n\n\n
                                      \n
                                    1. D\u00fcnya G\u00fczeldir<\/a> <\/li>\n<\/ol>\n\n\n\n
                                        \n
                                      1. Foto\u011fraf\u0131n K\u0131sa Tarihi \u2013 sayfa 34 <\/li>\n<\/ol>\n\n\n\n
                                          \n
                                        1. TheMet<\/a> <\/li>\n<\/ol>\n\n\n\n
                                            \n
                                          1. Karl Blossfeldt<\/a> <\/li>\n<\/ol>\n\n\n\n
                                              \n
                                            1. Britannica<\/a> <\/li>\n<\/ol>\n\n\n\n
                                                \n
                                              1. WikiSummarie<\/a>s <\/li>\n<\/ol>\n\n\n\n
                                                  \n
                                                1. Faruk Ulay, 1985 S. 32 <\/li>\n<\/ol>\n\n\n\n
                                                    \n
                                                  1. <\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

                                                    20. y\u00fczy\u0131la yakla\u015f\u0131rken sanat\u00e7\u0131lar r\u00f6nesans d\u00f6nemine k\u0131yasla, d\u00fcnyay\u0131 oldu\u011fu gibi de\u011fil, i\u00e7sel duygular\u0131n\u0131 ve fantezilerini ger\u00e7eklikten uzakla\u015farak ifade etmek istediler. D\u0131\u015favurumculuk (Ekspresyonizm) sanat\u0131n amac\u0131 ve sanat tarihi a\u00e7\u0131s\u0131ndan \u00f6nemli bir hareket oldu. \u00d6nce \u015fiir ve resimde ortaya \u00e7\u0131kan ak\u0131m, Weimar Cumhuriyeti s\u0131ras\u0131nda; mimari, edebiyat, tiyatro, m\u00fczik ve film olmak \u00fczere geni\u015f bir sanat alan\u0131nda yay\u0131ld\u0131. … <\/p>\n

                                                    “B\u00fcy\u00fcl\u00fc Ger\u00e7eklik”<\/span>devam\u0131n\u0131 oku<\/a><\/p>\n","protected":false},"author":2,"featured_media":6970,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_vp_format_video_url":"","_vp_image_focal_point":[],"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[50],"tags":[105,101,103,102,99,98],"class_list":["post-7005","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-albert-renger-patzsch","tag-beckman","tag-george-grosz","tag-otto-dix","tag-weimar-cumhuriyeti","tag-yeni-nesnellik"],"yoast_head":"\nB\u00fcy\u00fcl\u00fc Ger\u00e7eklik - Mustafa Sevdim<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mustafasevdim.com\/index.php\/buyulu-gerceklik\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"B\u00fcy\u00fcl\u00fc Ger\u00e7eklik - Mustafa Sevdim\" \/>\n<meta property=\"og:description\" content=\"20. y\u00fczy\u0131la yakla\u015f\u0131rken sanat\u00e7\u0131lar r\u00f6nesans d\u00f6nemine k\u0131yasla, d\u00fcnyay\u0131 oldu\u011fu gibi de\u011fil, i\u00e7sel duygular\u0131n\u0131 ve fantezilerini ger\u00e7eklikten uzakla\u015farak ifade etmek istediler. 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