Journals / Ombudsman Akademik / 2026 / Sayı: ÖZEL SAYI 3 (AİLE) Özel Sayı

Fragile Bonds, Personal Narratives: The Transformation of the Family Image in 20th and 21st-Century Art

KIRILGAN BAĞLAR, KİŞİSEL ANLATILAR: 20. VE 21. YÜZYIL SANATINDA AİLE İMGESİNİN DÖNÜŞÜMÜ

Canan Güneş(Kütahya Dumlupınar Üniversitesi)0000-0002-9360-9629
Pages
357–377
Publication Date
2025-11-27
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AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

The study highlights how contemporary visual narratives render the family not as a fixed structure, but as a dynamic and contested space of meaning, thus underscoring the critical and transformative power of art.

📌 3 Key Takeaways

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Objective & Hypothesis:This article examines the transformation of the family image in 20th- and 21st-century art through the conceptual lenses of “fragile bonds” and “personal narratives.” Works by artists such as Frida Kahlo, Louise Bourgeois, Claire Curneen, Viola Frey, and Pablo Picasso are analyzed using psychoanalytic theory, feminist art criticism, and cultural memory studies.
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Key Findings & Data:Across diverse media—from ceramics and bronze to painting and sculpture—these works are interpreted as aesthetic strategies that dismantle, reconfigure, and reimagine the notion of family.
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Conclusion & Impact:The study highlights how contemporary visual narratives render the family not as a fixed structure, but as a dynamic and contested space of meaning, thus underscoring the critical and transformative power of art.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:Aile · Kırılganlık · Çağdaş Sanat

Abstract

This article examines the transformation of the family image in 20th- and 21st-century art through the conceptual lenses of “fragile bonds” and “personal narratives.” Works by artists such as Frida Kahlo, Louise Bourgeois, Claire Curneen, Viola Frey, and Pablo Picasso are analyzed using psychoanalytic theory, feminist art criticism, and cultural memory studies. While traditional family portraits emphasized unity, hierarchy, and sanctity, contemporary representations foreground conflict, trauma, solitude, and personal introspection. Across diverse media—from ceramics and bronze to painting and sculpture—these works are interpreted as aesthetic strategies that dismantle, reconfigure, and reimagine the notion of family. The findings suggest that the family is no longer a mere thematic subject but a conceptual field through which personal memory, emotional fragility, and social structures are renegotiated and made visible. The study highlights how contemporary visual narratives render the family not as a fixed structure, but as a dynamic and contested space of meaning, thus underscoring the critical and transformative power of art.

Özet

Bu makale, 20. ve 21. yüzyıl sanatında aile imgesinin geçirdiği dönüşümü “kırılgan bağlar” ve “kişisel anlatılar” kavramları çerçevesinde incelemektedir. Çalışmada Frida Kahlo, Louise Bourgeois, Claire Curneen, Viola Frey ve Pablo Picasso gibi sanatçıların aile temalı eserleri, psikanalitik kuramlar, feminist sanat eleştirisi ve kültürel bellek perspektifiyle yorumlanmıştır. Geleneksel aile portrelerinde görülen bütünlük, hiyerarşi ve kutsallık temalarının yerini, çağdaş sanatta çatışma, travma, yalnızlık ve bireysel sorgulamalar almıştır. Seramikten bronza, resimden heykele uzanan çeşitli mecralarda üretilen bu eserler, aileyi yeniden kuran, bozuma uğratan ve dönüştüren estetik stratejiler olarak değerlendirilmiştir. Çalışmanın sonucunda, aile kavramının artık yalnızca temsili bir tema değil; bireysel hafıza, duygusal kırılganlık ve toplumsal yapıların yeniden müzakere edildiği bir düşünsel alan olarak görselleştirildiği ortaya konmuştur. Bu yönüyle makale, çağdaş sanatta aileye dair görsel anlatıların çok katmanlı doğasını görünür kılarak, sanatın hem eleştirel hem de iyileştirici potansiyeline dikkat çeker.

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Cite This Article

Güneş, C. (2025). Fragile Bonds, Personal Narratives: The Transformation of the Family Image in 20th and 21st-Century Art. Ombudsman Akademik, Sayı: ÖZEL SAYI 3 (AİLE) Özel Sayı, 357–377. https://doi.org/10.32002/ombudsmanakademik.1700054

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