The history of painting can be viewed from multiple perspectives. These include changes in style from an art historical perspective and studies of creativity from an artist's perspective. The discipline of art history attaches importance to the stylistic features of paintings. Iconography and iconology studies, feminism, psychoanalysis, and visual culture studies in cultural history and contemporary art history studies are examples of these. The lives of painters, biographical and autobiographical notes, and the psychological dimension of artistic creativity are also research topics—all deal with how paintings are created and, most importantly, their relationship. Considering the relationship between paintings as a change in style and innovation in forms is meaningful for the narrative of painting. These studies' concept sets and theoretical approaches continue to maintain their importance. This study includes two words other than the key concepts and theories of painting, which has a long history, and the fields that conduct research on it. These words are 'deletion' and 'accumulation.' These two words should first be considered in terms of their literal meanings. Accumulating is the conscious accumulation of something, the accumulation of accumulations creating a pile, cluster, effect, tradition, rule, order, etc. The symbolic meaning of the word indicates the stylistic acceptance of the art of painting and the possibility of the institution of taste and art to determine the canonical in terms of taste and culture. Thus, accumulating points to a cultural world that includes the painter from his singular existence to an expanding painting universe. This is an expansion, a cultural order produced by repetition, a state of taste and knowledge, at least specific to painting. Expansion gains its meaning in terms of the institution of art in the context of painting. Accumulating is the keyword of a world of production and preservation that includes art schools, museums, and areas that think about art. 'Deletion' is the equivalent of the painter erasing the form on the surface, erasing the given rules, and experiencing a singular creation process in a way that erases it. 'Erasing' can be considered a provocative, critical, innovative way for the painter to determine his position in the painting universe. As a matter of self, it can be considered as a keyword of an ideological perspective. The act of 'deletion,' in its simplest sense, corresponds to the painter's selective use of the accumulated culture of painting that has been preserved while creating his visual language and to the reduction of the importance given to it for himself in the name of adjusting the power of some elements. In short, in terms of the painter's act, erasing indicates the personal attitude towards a situation that can be called the universe of painting and whose factual equivalent can be seen in museums, galleries, and literature.
The study considers changes in terms of cultural and intellectual history with the words of erasure and accumulation. It tries to show the meaning of accumulation and erasure factually with the selected points of interest, extending from ancient culture to modern and postmodern culture. Accordingly, the accumulation of classical art is evident with the necessity of the powerful world of vision surrounding the painter. However, modern culture is the stage in which the painter consciously begins to erase and displace what has been accumulated. Painters exhibit a critical position in transforming the painting style at this stage. Modern painters bring out the personal, such as individual choices, experience, and expression, against illusion. In the postmodern period, deletion is seen as a conscious exaggeration that selects the characteristics of the accumulated style. The study examines the examples it selects within this theoretical scope. It is seen that there is a conscious relationship and influence between Théodore Géricault and Eugéne Delacroix. This influence should be considered as the two painters being in the same world of vision in the modern sense. It is seen that Êdouard Manet and the painter interpret the accumulations of the style in the modern sense with erasures.
The two groups of examples have a common ground, with the museum space being a memory in the modern sense. Delacroix used the images of Géricault that he saw in exhibitions in his painting. Manet also unbalanced the relationships between forms with the appreciation of the classical works he saw in the museum space. It is seen that a continuity relationship can be established between the Caravaggio and Gentileshi couple in classical painting. Gentileschi had to act in the same world of vision as Caravaggio in his work, which is considered to have psychobiographical characteristics in art history.
On the other hand, it was found that the relationship between Titian and El Greco is a notable example since it coincides with the phase in which the world of vision was disrupted. It is seen that El Greco exhibits a character that preserves the content of Titian's representation style of his painting but organizes it with his understanding of form. Monet's painting has a strong influence on deletion as Manet's. Monet's paintings include a personal interpretation that disrupts the illusion and order of form in painting. With the beginning of the twentieth century, modern painting has created itself through the act of deletion and has reconsidered the rules of painting that show canonical features accumulated symbolically on the surface. In this context, the study includes the paintings of Paul Cezanne, Wassily Kandinsky, George Braque, Kazimir Malevich, Henri Matisse, Francis Bacon, and Jackson Pollock.
All these examples show that modern painting has a personal creative act system realized with the artist's acts of deletion. In postmodern painting, the artist's eclecticism has found its character with an aesthetics of quotation where styles are no longer weighted. Jeff Koons and David Salle, selected in the study, are given as examples in this regard. The study addresses the relationship between the symbolic accumulation of painting and the actual fiction that takes place on the surface of the painting with the symbolic meanings of the expressions of deletion and accumulation. Paintings hide this accumulation on their surfaces. An empty canvas is a pile of rules for the painter who looks at it. The painter, on the other hand, takes a position against this pile. One of these positions is conformity to accumulation; the other is deletion of accumulation. The study suggests that the art of painting can be viewed with the words erasure and accumulation in terms of the act and the idea of painting.
Resim sanatına tarihsel ve teorik açıdan yaklaşmak mümkündür. Bu yaklaşımlar resim sanatını anlatılar içinde değerlendirmektedir. Anlatı içinde resim sanatında meydana gelen dönüşümlerin belirlenmesi, düşünce açısından değişimlerin görülmesi mümkündür. Başka bir teorik yaklaşım kavramlar, terimler ve düşünceler ile yapılabilir. Bu çalışmada silmek ve biriktirmek kelimeleri açısından resim sanatı üzerinde düşünülecektir. Biriktirmek, sanat kurumlarını ve sanat üsluplarını akla getirmektedir. Aynı zamanda mecaz olarak biriktirmek yüzeyde ressamın karşılaştığı alışkanlıklar, kalıplar veya klişelerdir. Biriktirme, sanatın tarihselleşmesinin yolu olmuştur. Biriktirme, mecaz anlamıyla olduğu kadar gerçek anlamıyla da sanatın kurumsallaşmasının karşılığı olarak görülmelidir. Bu yüzden kültür ile ilişkilidir. Biriktirme, sanatın müze, galeri ve diğer sergi mekânlarında sembolik iletişimler içerisinde eserlerin değer üretimiyle gerçekleşmektedir. Bu düzenek karmaşık ve eğitsel karakteriyle tekil özellikler göstermemektedir. Biriktirmek, kamusal anlamda sanat görüşlerinden, kanaat düzeylerinden entelektüel boyuta uzanmasıyla bu özelliğini sergilemektedir. Biriktirme bir süreklilik vaadi taşımıştır. Silmek ise biriktirmenin tersine, yüzeyde ressamın klişeleri atmasıdır. Ressamın edimi olarak yüzeyde gerçekleştirdiği her türlü silme edimi buna müsaittir. Aynı zamanda silme yaratıcı ifadenin bir tür görünümü sayılmalıdır. Silmek, yeniliğin bir özelliğidir. Tarih boyunca da ressamların eserlerinde bulgulanan yenilik için silmelerin sonucu olan bir durumun söz konusu olduğu iddia edilebilir. Bu kapsamda çalışmada kültür tarihi açısından biriktirme ve silme edimlerinin, önerilerinin ve bunların kavramsal boyutlarının ne olduğu sorusu cevaplanmaya çalışılmaktadır. Bu kısımda amaçlanan silme ve biriktirme için bunların tekil ve kavramsal derinlikleri olmayan durumlarının farkında olunarak düşünsel ve olgusal varoluşlarının gösterilmesidir. Devam eden kısımda ise seçilen örneklerle biriktirme ve silme konusunda onların nasıl düşünülebileceğine değinilmektedir. Çalışma düzenini sanat tarihsel değil söylemsel açıdan klasik, modern ve postmodern olarak sınırlanmaktadır. Bu sınırlar içerisinde silme ve biriktirme edimlerinin olgusal ve kavramsal durumu anlatılmaya çalışılmıştır. Sonuç olarak da silmenin biriktirmeye giden bir yol, biriktirmenin ise silmeye neden olan bir tetikleyici olduğu kanısına varılmıştır.
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