Araştırma Makalesi
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Propagandanın Resim Sanatındaki Görsel Dili Üzerine Bir Değerlendirme

Yıl 2024, Sayı: 63, 42 - 57, 28.03.2024

Zuhal Başbuğ Fatih Başbuğ

https://doi.org/10.53568/yyusbed.1394877

Öz

Sanatçılar, sanat eserlerinin oluşmasındaki yaratım sürecinde kendilerini ifade etmelerine imkan sağlayan farklı çıkış noktalarını referans almışlardır. Sanatın toplumsal anlamda insanlar üzerinde meydana getirdiği etki, bu referans noktalarından sayılabilir. Toplumsal etki durumu sanatın bir propaganda aracına dönüşerek, kitleleri etkilemesi sonucunu doğurmuştur. Bu araştırma, güncel sanatın sanat dinamikleri özelinde geçirdiği evreler ve sanatçıların özgün çıkış yolu arayışlarından örnekleri barındırmaktadır. Araştırma, veri toplama tekniklerinden, literatür taraması ile yapılmış, ağırlıklı olarak yabancı yazarların çalışmaları referans alınarak, toplanan bilgiler bir araya getirilmiştir. Sanat kavramının teorik anlamda karşılığı, çeşitli dönemlerden ve coğrafyalardan örneklerle propaganda aracına nasıl dönüştüğü çalışmanın problemini oluşturmuştur. Çalışmanın sonunda elde edilen bulgular, sanat kavramından yola çıkarak propaganda aracına dönüşen sanat yapıtları, sanatçıların kimlik arayışları ve kitleleri etkileme prensipleri üzerinde durulmuştur. Sonuç olarak sanat kavramının kendi dönemi içinde her sanatçının çağdaş sayılabileceği, belirli bir dönemi kapsamadığı ve her dönemde sanat ve siyaset ilişkisine bağlı olarak farklı ifade araçlarına dönüşen sanat eserlerinin bulunduğu, günümüzde de bu anlayışın devam ettiği sonucuna varılmıştır.

Anahtar Kelimeler

Sanat Propaganda Görsel dil.

Kaynakça

  • Başbuğ, Z. (2023). Fransız devrimci Jean Paul Marat’ın ölümünün sanat eserlerine yansıması. Manas Sosyal Araştırmalar Dergisi, 12(3), 999-1015. https://doi.org/10.33206/mjss.1272164.
  • Clark, T. (2011). Sanat ve propaganda, (E. Hoşcusu, Çev.). Ayrıntı Yayınları.
  • Cubitt, S. (2009). Art, technology and policy in the twenty‐first century. Third Text, 23(5), 571-578, https://doi.org/10.1080/09528820903184799.
  • Curnalia, R.M.L. (2005). A retrospective on early studies of propaganda and suggestions for reviving the paradigm. The Review of Communication, 5(4), 237-257. https://doi.org/10.1080/15358590500420621.
  • Doty, B. (2013). ‘As a mass, a phenomenon so hideous’: crowd psychology, ımpressionism, and ford madox ford's propaganda. Journal of War & Culture Studies, 6(2), 169-182. https://doi.org/10.1179/1752627213Z.00000000015.
  • Eco, U. (2022). Ortaçağ estetiğinde sanat ve güzellik, (K. Atakay, Çev.). Can Sanat Yayınları.
  • Galenson, D. W. (2007). And now for something completely different; the versatility of conceptual ınnovators. Historical Methods: A Journal of Quantitative and Interdisciplinary History, 40(1), 17-27, https://doi.org/10.3200/HMTS.40.1.17-27.
  • Hall, L. (2014). Art, politics and museums. Third Text, 28(3), 292-296. https://doi.org/10.1080/09528822.2014.903603
  • Jones, H. D. (2013). ‘An art of our own’: state patronage of the visual arts in wales. 1945–1967, Contemporary British History, 27(1), 44-64. https://doi.org/10.1080/13619462.2012.685690
  • Lerer, M. & McGarrigle, M. (2018). Art in the age of financial crisis. Visual Resources, 34(1-2), 1-12. https://doi.org/10.1080/01973762.2018.1455355
  • Li, S. (2018). A turn to realism and humanism from propaganda: Chinese photojournalism practices between 1976 and 1988. Asian Journal of Communication, 28(2), 115-134. https://doi.org/10.1080/01292986.2017.1371199.
  • Marples, R. (2017). Art, knowledge and moral understanding. Ethics and Education, 12(2), 243-258. https://doi.org/10.1080/17449642.2017.1323425.
  • McDonald, G. (2014). Aboriginal art and cultural diplomacy: Australia, the United States, and the culture warriors exhibition. Journal of Australian Studies, 38(1), 18-31. https://doi.org/10.1080/14443058.2013.859168.
  • McDonald, A. L. (2015). Art, war and truth: Nomonhan 1939. Journal of War & Culture Studies, 8(2), 143-157. https://doi.org/10.1179/1752627215Z.00000000068.
  • Preda, C. (2012). Art and politics in postcommunist Romania: changes and continuities, the journal of arts management. Law, and Society, 42(3), 116-127, doi:10.1080/10632921.2012.726550.
  • Presiado, M. (2016). A new perspective on Holocaust art: women’s artistic expression of the female Holocaust experience (1939–49). Holocaust Studies, 22(4), 417-446. https://doi.org/10.1080/17504902.2016.1201365.
  • Roberts, J. (2010). Art and its Negations. Third Text, 24(3), 289-303. https://doi.org/10.1080/09528821003799429.
  • Roberts, J. (2016). A philosophical memoir: notes on bhaskar, realism and cultural theory. Journal of Critical Realism, 15(2), 175-186. https://doi.org/10.1080/14767430.2016.1149771
  • Romain, J. (2016). “All art is part of the same constellation”: a conversation on craft and artistic practice with Heri Dono. The Journal of Modern Craft, 9(2), 183-191. https://doi.org/10.1080/17496772.2016.1205282.
  • Scott, S. (2017). Art, cold war diplomacy and commonwealth: Australian and Canadian art at the Tate Gallery 1962–1964. Journal of Australian Studies, 41(4), 487-502. https://doi.org/10.1080/14443058.2017.1382552.
  • Sharp, S. (2017). Art as power, convenience, aggressor and mediator. Third Text, 31(4), 581-599. https://doi.org/10.1080/09528822.2017.1411637.
  • Shelton, A. C. (2001). Art, politics, and the politics of art: Ingres's Saint Symphorien at the 1834 salon. The Art Bulletin, 83(4), 711-739. https://doi.org/10.1080/00043079.2001.10787004.
  • Soete, L. G. & Wyatt, S. M. (1983). The use of foreign patenting as an internationally comparable science and technology output indicator. Scientometrics, 5(1), 31-54.
  • Ümer, E. (2017). Görsel kültür ve resim sanatındaki imge. İdil, 6 (33), s.1535-1553. https://doi.org/10.7816/idil-06- 33-06.
  • Görsel 1. Genç Jan Bruegel, “Lale Çılgınlığı Üzerine Hiciv”, 1640, Ahşap Panel Üzerine Yağlıboya, 31x49 Cm, Frans Hals Müzesi. https://tulipfestivalamsterdam.com/painting-allegory-on-tulipmania-by-jan-brueghel-the- younger-1640/
  • Görsel 2. Jean-Auguste-Dominique Ingres, “Aziz Symphorien’in Şehit Edilişi”, [Tuval Üzerine Yağlıboya], 1834, 407x339 cm, Autun Katedrali. https://arthive.com/ingres/works/344859~The_martyrdom_of_St_Symphorian
  • Görsel 3. Leonard Tsuguharu Foujita, Halha Nehri Kıyısında Savaş (Nomonhan), 1941, [Tuval üzerine yağlıboya], 140x448 cm, Tokyo Modern Sanat Müzesi. https://warfarehistorynetwork.com/russo-japanese-clash-at-the- battle-of-nomonhan/
  • Görsel 4. Nicolae Grigorescu, “Grandville’de Balıkçı Kadın”, [Resim], Tarih Belirtilmemiş, 27x35 Cm, Romanya Ulusal Sanat Müzesi. https://en.m.wikipedia.org/wiki/File:Nicolae_Grigorescu_-_Pescarita_la_Grandville.jpg
  • Görsel 5. Gino Boccasilel, “Amerikan Karşıtı İtalyan Afişi”, [Afiş], 1943, 38,75x54,25 Cm, Londra. https://closeencountersinwar.org/category/call-for-articles/.
  • Görsel 6. Kathe Kollwitz, “Savaşta Anneler” 1923, 34,3x40 cm, Gravür, Kongre Kütüphanesi Katoloğu.https://www.moma.org/collection/works/126891?artist_id=3201&page=1&sov_referrer=artist.
  • Görsel 7. Ernest Zobole, “İnsanlar ve Geçiş”, [Resim], 1952, 61x84 Cm, Güney Galler Üniversitesi. https://en.artsdot.com/@/Ernest-Zobole.
  • Görsel 8. Diego Rivera, “Şanlı Zafer”, 1954, [Tuval Üzerine Yağlıboya], 260x450 Cm, Puşkin Müzesi. https://www.pxfuel.com/tr/desktop-wallpaper-gqkbz
  • Görsel 9. Heri Dono, “Süper Trump’ın Ülkesi”, [Resim], 2017, 150x125 Cm, Özel Koleksiyon. https://www.artsy.net/artwork/heri-dono-born-and-freedom.

An Evaluation on The Visual Language of Propaganda in Painting

Yıl 2024, Sayı: 63, 42 - 57, 28.03.2024

Zuhal Başbuğ Fatih Başbuğ

https://doi.org/10.53568/yyusbed.1394877

Öz

Artists have taken different starting points as reference points that allow them to express themselves during the creation process of their works of art. The impact of art on people in a social sense can be counted among these reference points. The social impact situation has resulted in art turning into a propaganda tool and influencing the masses. This research contains examples of the phases of contemporary art in terms of art dynamics and the artists' search for a unique way out. The research was carried out through literature review, one of the data collection techniques, and the collected information was brought together, mainly by reference to the works of foreign authors. The problem of the study is how the concept of art, in theoretical terms, turns into a propaganda tool with examples from various periods and geographies. The findings obtained at the end of the study were focused on works of art that turned into propaganda tools based on the concept of art, artists' search for identity and the principles of influencing the masses. As a result, it has been concluded that the concept of art can be considered as contemporary for every artist in their own period, that it does not cover a specific period, and that in every period there are works of art that turn into different means of expression depending on the relationship between art and politics, and this understanding continues today.

Anahtar Kelimeler

Art Propaganda Visual language.

Kaynakça

  • Başbuğ, Z. (2023). Fransız devrimci Jean Paul Marat’ın ölümünün sanat eserlerine yansıması. Manas Sosyal Araştırmalar Dergisi, 12(3), 999-1015. https://doi.org/10.33206/mjss.1272164.
  • Clark, T. (2011). Sanat ve propaganda, (E. Hoşcusu, Çev.). Ayrıntı Yayınları.
  • Cubitt, S. (2009). Art, technology and policy in the twenty‐first century. Third Text, 23(5), 571-578, https://doi.org/10.1080/09528820903184799.
  • Curnalia, R.M.L. (2005). A retrospective on early studies of propaganda and suggestions for reviving the paradigm. The Review of Communication, 5(4), 237-257. https://doi.org/10.1080/15358590500420621.
  • Doty, B. (2013). ‘As a mass, a phenomenon so hideous’: crowd psychology, ımpressionism, and ford madox ford's propaganda. Journal of War & Culture Studies, 6(2), 169-182. https://doi.org/10.1179/1752627213Z.00000000015.
  • Eco, U. (2022). Ortaçağ estetiğinde sanat ve güzellik, (K. Atakay, Çev.). Can Sanat Yayınları.
  • Galenson, D. W. (2007). And now for something completely different; the versatility of conceptual ınnovators. Historical Methods: A Journal of Quantitative and Interdisciplinary History, 40(1), 17-27, https://doi.org/10.3200/HMTS.40.1.17-27.
  • Hall, L. (2014). Art, politics and museums. Third Text, 28(3), 292-296. https://doi.org/10.1080/09528822.2014.903603
  • Jones, H. D. (2013). ‘An art of our own’: state patronage of the visual arts in wales. 1945–1967, Contemporary British History, 27(1), 44-64. https://doi.org/10.1080/13619462.2012.685690
  • Lerer, M. & McGarrigle, M. (2018). Art in the age of financial crisis. Visual Resources, 34(1-2), 1-12. https://doi.org/10.1080/01973762.2018.1455355
  • Li, S. (2018). A turn to realism and humanism from propaganda: Chinese photojournalism practices between 1976 and 1988. Asian Journal of Communication, 28(2), 115-134. https://doi.org/10.1080/01292986.2017.1371199.
  • Marples, R. (2017). Art, knowledge and moral understanding. Ethics and Education, 12(2), 243-258. https://doi.org/10.1080/17449642.2017.1323425.
  • McDonald, G. (2014). Aboriginal art and cultural diplomacy: Australia, the United States, and the culture warriors exhibition. Journal of Australian Studies, 38(1), 18-31. https://doi.org/10.1080/14443058.2013.859168.
  • McDonald, A. L. (2015). Art, war and truth: Nomonhan 1939. Journal of War & Culture Studies, 8(2), 143-157. https://doi.org/10.1179/1752627215Z.00000000068.
  • Preda, C. (2012). Art and politics in postcommunist Romania: changes and continuities, the journal of arts management. Law, and Society, 42(3), 116-127, doi:10.1080/10632921.2012.726550.
  • Presiado, M. (2016). A new perspective on Holocaust art: women’s artistic expression of the female Holocaust experience (1939–49). Holocaust Studies, 22(4), 417-446. https://doi.org/10.1080/17504902.2016.1201365.
  • Roberts, J. (2010). Art and its Negations. Third Text, 24(3), 289-303. https://doi.org/10.1080/09528821003799429.
  • Roberts, J. (2016). A philosophical memoir: notes on bhaskar, realism and cultural theory. Journal of Critical Realism, 15(2), 175-186. https://doi.org/10.1080/14767430.2016.1149771
  • Romain, J. (2016). “All art is part of the same constellation”: a conversation on craft and artistic practice with Heri Dono. The Journal of Modern Craft, 9(2), 183-191. https://doi.org/10.1080/17496772.2016.1205282.
  • Scott, S. (2017). Art, cold war diplomacy and commonwealth: Australian and Canadian art at the Tate Gallery 1962–1964. Journal of Australian Studies, 41(4), 487-502. https://doi.org/10.1080/14443058.2017.1382552.
  • Sharp, S. (2017). Art as power, convenience, aggressor and mediator. Third Text, 31(4), 581-599. https://doi.org/10.1080/09528822.2017.1411637.
  • Shelton, A. C. (2001). Art, politics, and the politics of art: Ingres's Saint Symphorien at the 1834 salon. The Art Bulletin, 83(4), 711-739. https://doi.org/10.1080/00043079.2001.10787004.
  • Soete, L. G. & Wyatt, S. M. (1983). The use of foreign patenting as an internationally comparable science and technology output indicator. Scientometrics, 5(1), 31-54.
  • Ümer, E. (2017). Görsel kültür ve resim sanatındaki imge. İdil, 6 (33), s.1535-1553. https://doi.org/10.7816/idil-06- 33-06.
  • Görsel 1. Genç Jan Bruegel, “Lale Çılgınlığı Üzerine Hiciv”, 1640, Ahşap Panel Üzerine Yağlıboya, 31x49 Cm, Frans Hals Müzesi. https://tulipfestivalamsterdam.com/painting-allegory-on-tulipmania-by-jan-brueghel-the- younger-1640/
  • Görsel 2. Jean-Auguste-Dominique Ingres, “Aziz Symphorien’in Şehit Edilişi”, [Tuval Üzerine Yağlıboya], 1834, 407x339 cm, Autun Katedrali. https://arthive.com/ingres/works/344859~The_martyrdom_of_St_Symphorian
  • Görsel 3. Leonard Tsuguharu Foujita, Halha Nehri Kıyısında Savaş (Nomonhan), 1941, [Tuval üzerine yağlıboya], 140x448 cm, Tokyo Modern Sanat Müzesi. https://warfarehistorynetwork.com/russo-japanese-clash-at-the- battle-of-nomonhan/
  • Görsel 4. Nicolae Grigorescu, “Grandville’de Balıkçı Kadın”, [Resim], Tarih Belirtilmemiş, 27x35 Cm, Romanya Ulusal Sanat Müzesi. https://en.m.wikipedia.org/wiki/File:Nicolae_Grigorescu_-_Pescarita_la_Grandville.jpg
  • Görsel 5. Gino Boccasilel, “Amerikan Karşıtı İtalyan Afişi”, [Afiş], 1943, 38,75x54,25 Cm, Londra. https://closeencountersinwar.org/category/call-for-articles/.
  • Görsel 6. Kathe Kollwitz, “Savaşta Anneler” 1923, 34,3x40 cm, Gravür, Kongre Kütüphanesi Katoloğu.https://www.moma.org/collection/works/126891?artist_id=3201&page=1&sov_referrer=artist.
  • Görsel 7. Ernest Zobole, “İnsanlar ve Geçiş”, [Resim], 1952, 61x84 Cm, Güney Galler Üniversitesi. https://en.artsdot.com/@/Ernest-Zobole.
  • Görsel 8. Diego Rivera, “Şanlı Zafer”, 1954, [Tuval Üzerine Yağlıboya], 260x450 Cm, Puşkin Müzesi. https://www.pxfuel.com/tr/desktop-wallpaper-gqkbz
  • Görsel 9. Heri Dono, “Süper Trump’ın Ülkesi”, [Resim], 2017, 150x125 Cm, Özel Koleksiyon. https://www.artsy.net/artwork/heri-dono-born-and-freedom.
Toplam 33 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Güzel Sanatlar
Bölüm Tam Sayı
Yazarlar

Zuhal Başbuğ 0000-0001-6856-0432

Fatih Başbuğ 0000-0001-7600-273X

Yayımlanma Tarihi 28 Mart 2024
Gönderilme Tarihi 23 Kasım 2023
Kabul Tarihi 13 Mart 2024
Yayımlandığı Sayı Yıl 2024 Sayı: 63

Kaynak Göster

APA Başbuğ, Z., & Başbuğ, F. (2024). Propagandanın Resim Sanatındaki Görsel Dili Üzerine Bir Değerlendirme. Yüzüncü Yıl Üniversitesi Sosyal Bilimler Enstitüsü Dergisi(63), 42-57. https://doi.org/10.53568/yyusbed.1394877
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