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Hikmet Onat, Heybeliada Deniz Harp Okulu'nu 1903te bitirir, 19051e Sanayi-i Nefise Mektebine kaydolur. Osmanlı Ressamlar Cemiyetenin kurucu üyelerinden biri olan sanatçl, Enver Paşa'nın 1917'de açılan Sisli Atölyesinde savaş konulu resimler gerçekleştirir. Hikmet Onarın akademik niteliktekl nu çalışmalan ve iç mekan resimlerinin yanı sıra ele aldığı konulardan biri de manzara ve dolayısıyla istanbuldur. Hikmet Onat, 1914 Kuşağı sanatçılan gibi, o dönemde akademik üslubun dışında değerlendirilen izlenimciliği benimser. Uzun yıllar aynı biçim dilinl koruyarak ele aldığı manzaralarında yaşamının sonuna kadar İzlenimcilik ile Akademizm arasında kalır. Özellikle Boğaziçi manzarasını belgeleyen bu yapıtlannı Üretmeye devam ederken, diğer çalışmalarında Akademizm yanlısı olduğu görülür.
Askeri disiplinden gelen Hikmet Onat, yıllar boyunca haftalık programlar yaparak sabah karanlığında yola çıkıp, o gün İçin hedeflediği noktadan güneşin ilk ışıkları ile çalışır. Sanatçının resim yapacağı görünümü desenleyerek ve armoniyi belirleyecek temel renk lekelerini taslağın Üzerine not alarak, resme girlşmeden ana kararlannı verdiği eskiz defterlerinden bilinir. Fazla çeşitlenmeyen kendine özgü bir fırça tekniği, paletini kurutmamanın rahatlığı ile duraksamasız bir gerçekleştirme sÜreci "Toygartepe'de Sabah" adli çalışmada görülebilir
Hikmet Onat graduated from the Heybeliada Naval School in 1903 and enrolled in the School of Fine Arts In 1905. One of the founders of the Society of Ottoman Painters, Hikmet Onat's work ranged from battle scenes produced at the 5isli Atelier that was opened with the backing of war minister Enver Pasa in 1917 to academic-style nudes and interiors. The artist also produced landscapes and hence focused on Istanbul. Like other artists of the "1914 Generation", Onat was also an adherent of Impressionism, which qualified as "anti-academic" at the time. In case of his landscapes, however, whose formal language remained unchanged for years, he hovered somewhere between Impressionism and Academism throughout his life, producing works that documented the landscape of the Bosphorus. Nevertheless, a strong element of Academism is found in his other works.
For years, Hikmet Onat adhered to a rather military-like weekly work schedule. This involved getting up and setting out to that day's destination before dawn, so that he could capture the first glimmers of light. He set his impressions down in sketchbooks that he used to design his scenes, making at times detailed notes of decisions about layouts. colors, and so on long before he actually began work on a painting. In "Morning at Toygartepe", we can see evidence of the artist's characteristic brushwork technique (from which he deviated very little) and of his non-stop process of creation involving a palette always kept wet.
This is one of the earliest Neoclassical paintings created in France. Inspired by the excavation of the ancient Roman cities of Pompeii and Herculaneum, painters like Vien began to include classical
architecture, furniture, and costumes in their work. Vien also changed his style of painting by favoring smoother surfaces, finer brushstrokes, and cooler colors. The artist transmitted this style to his pupil Jacques-Louis David, the best-known Neoclassical painter.
This painting is among the earliest depictions of "Sweet Melancholy," a subject derived from traditional emblems that became very popular in the late 18th century. The woman is not a tragic mourner or a brooding intellectual, but rather a gently regretful figure. The letter on the table may have brought news of a distant or lost love, while the dove underscores the sweetness of the scene.
Cleveland Museum Ohio
Joseph-Marie Vien presented this sketch in a six-part submission for pre-selection for the 1743 Prix de Rome. Based on the unresolved nature of the paintings, it was a surprise to many that Vien was deemed eligible for competition and eventually won the prize. While this was reflective of the declining state of the Prix, with its unfashionable privileging of history painting at the expense of the pastorals and allegories that had become fashionable, the award was prophetic. Vien would become France’s most highly awarded painter and its leading teacher, and one of the earliest exponents of the Neo-classical style.
The subject of Vien’s painting suggests something of this historical context. Joshua, a disciple of Moses and his successor, leads the Israelite invasion of Canaan and the Promised Land. During a final, fraught battle for the town of Gibeon, Joshua prays for extended daylight so as to assure what would become a great victory.
Hippolyte Delaroche (auch Paul Delaroche; * 17. Juli 1797 in Paris; † 4. November 1856 ebenda) war ein französischer Historienmaler des akademischen Realismus.