AI Summary & Key Takeaways
AI InsightWith the dominance of abstract painting gradually after the 1914 generation, the Golden Horn bridges almost completely disappeared from the art of painting, except for singular examples.
📌 3 Key Takeaways
Abstract
Bridges are vital in cities like Istanbul where water flows through them. For this reason, bridge planning studies begin on the Golden Horn from a very early date. The construction of the first bridge in the modern sense is in the nineteenth century. This is the period when many foreign artists came to Istanbul and these artists always painted the Golden Horn. There are many factors in the selection of the Golden Horn as a subject by foreign artists: The color of the Golden Horn changes due to the weather and currents; the silhouette of the city with domes and minarets and this silhouette can be followed easily from the sea; like monumental structures Süleymaniye Mosque, Beyazıt Tower, Galata Tower; the diversity of the people can be easily shown in the pictures since the city center is around the Golden Horn. It is noticed that the foreign artists who came to the Ottoman Empire had different approaches when processing the Golden Horn and bridges. While the works made in the early period were depicted with a documentary and realistic perspective, the orientalist view became widespread from the second half of the nineteenth century, and bridges, which are modern structures, were no longer included in wide-angle landscapes. However, the top of the Galata Bridge is depicted with an orientalist approach, as it reflects the life of Istanbul. These paintings are usually depicted with a viewpoint from Karaköy to Yeni Mosque, with monumental structures forming the background. In Turkish painting, especially in the wall paintings seen in buildings outside the capital, many depictions of Istanbul are encountered. Istanbul is also the symbol of modernism in these paintings, apart from the landscape context, and bridges are also included in the paintings with the depictions of the Golden Horn, with a contrary approach to the orientalist perspective. These city depictions are not limited to wall paintings; Golden Horn and bridges are embroidered on various objects of daily use such as trays and boxes. In the early period of Turkish canvas painting, the artists either worked from photographs and postcards in their workshops, or they painted landscapes from distant points of the centre. The depictions of the Golden Horn and bridge from this period are very few. With the 1914 Generation, the views about the city begin to increase. The sea is one of the main subjects of this period. However, in this period, the poetic perspective dominates the descriptions of Istanbul. Therefore, bridges over the rivers such as Göksu and Kurbağalıdere were used more. The original texture of the Golden Horn with its modern bridge on it and the industrial structures around it was not wanted to be used as a subject because it started to disappear. When used, the bridge was either not framed with a narrow viewpoint, it was ignored, not painted or depicted quite far away. With the dominance of abstract painting gradually after the 1914 generation, the Golden Horn bridges almost completely disappeared from the art of painting, except for singular examples.
Özet
İstanbul gibi içinden su geçen kentlerde köprüler hayati önem taşır. Bu yüzden Haliç üzerine çok erken tarihlerden itibaren köprü yapım çalışmaları başlar. Modern anlamda ilk köprünün inşası ise 19.yüzyılı bulur. Bu dönem çok sayıda yabancı sanatçının İstanbul’a geldiği dönemdir ve sanatçıların farklı bakış açıları ile köprüler resmedilmiştir. Bakış açısı ressamın Osmanlı Devleti’ne bakışını da yansıtır. Gördüklerini belgeselci şekilde gerçekçi bir bakış açısıyla yansıtan sanatçılar olduğu gibi köprü gibi modern bir yapıyı eserlerinde göstermek istemeyen ressamlar da bulunur. Türk resim sanatında ise özellikle başkent dışındaki yapılarda görülen duvar resimlerinde çok sayıda İstanbul betimi ile karşılaşılır. Özellikle Haliç betimleriyle birlikte köprüler de resimlerde yer bulur. Bu kent betimleri sadece duvar resimleri ile kalmaz; tepsi, kutu gibi çeşitli günlük kullanım nesnelerinin üzerine de Haliç ve köprüler işlenir. Türk resim sanatı erken dönem tuval resimlerinde sanatçılar manzaraları ya atölyelerinde fotoğraftan ve kartpostaldan çalışmışlar ya da merkeze uzak noktalardan pitoresk kenti resmetmişlerdir. Bu döneme ait Haliç ve köprü betimleri çok az sayıdadır. 1914 Kuşağı’yla birlikte kente dair görünümler artmaya başlar. Ancak bu dönemde de İstanbul betimlerine şiirsel bakış açısı hakimdir. Haliç, üzerindeki modern köprü ve çevresindeki sanayi yapılarıyla konu olarak kullanılmak istenmemiş, kullanıldığında da ya dar bakış açısı ile köprü kadraja alınmamış ya görmezden gelinmiş, resmedilmemiş ya da oldukça uzakta betimlenmiştir. 1914 Kuşağı sonrasında yavaş yavaş soyut resmin hâkim olmasıyla tekil örnekler dışında Haliç köprüleri resim sanatında ortadan kalkmıştır.