Images of women from the cities to the countryside in turkish paintings of the republic era (1923-1950)

Art presents an understanding parallel to the cultural structure in proportion to the degree of influence by the intellectual structure of its time. The interaction between the art and the cultural structure manifests itself more clearly in the societies that unite under a common roof of goals. Especially in the societies experiencing rapid large-scale change, the common goal influences both the social formation and the personal sensitivity of the artists. When the ideology of the common aim manipulates the art attracting to its own axis, the social and cultural values are made visible through art. Within this context, the modernization project of the Republic, based on the permanence of the nation-state, influenced the artists via its own internal dynamics. Therefore, images of modern women, placed on the foundations of the modernization project and considered of equal value with advancement, appeared on the canvas. The image of the modern woman was considered significant in the frame of representing the principles of the Turkish Revolution. Between 1923 and 1950, not only the images of modern women but also images of women of the countryside were painted by the artists. In conformity with the principle of Populism, the countryside forming the major part of the population gained importance. Atatürk’s statement describing the villagers as the masters of the Turkish nation was appreciated by many professionals, which drew many peoples’ attention towards the countryside. The artists with this awareness depicted Anatolia in the paintings with its people and their lives. The images of Anatolian women living in the rural areas have a significant part in this trend.

Republic Period ,

Women ,

Artists ,

Painting ,

Turkish Art ,

Cities ,

Countryside ,