Dokuz Eylül Üniversitesi Sosyal Bilimler Enstitüsü Dergisi

Öz

In Turkish painting, in the second half of the 19th century, representatives of the landscape tradition are known as primitive painters, photo-commentators and Darüşşafaka students. Primitive painters are important in laying the foundations of Turkish painting. In the Ottoman Art of the Westernization Period, the primitives, who meticulously conveyed architectural structures along with landscape painting, included Yıldız Palace, Yıldız Mosque, Kâğıthane, mansions, parks, gardens, artificial lakes and public fountains in their works. In the research, the stylistic characteristics of the representatives of the generation of primitive painters will be touched upon, and the subject and technical analysis of the primitive works will be made. Subject and technical analyzes are limited to the works of Hüseyin Giritli, Vidinli Osman Nuri Pasha, Mustafa, Fahri Kaptan, Bedri Kulları and Ahmet Şekur. In the research, it is seen that primitive painters, who act with stylistic unity, generally do not include figures when working on outdoor elements. It has been determined that the works transferred from photographs by the squaring method are not decorative or schematic, but are conveyed with a simple expression. The works created using the oil painting technique are depicted as static and devoid of movement. The works created from photographs are meticulously detailed. Although there are traces of light-shadow and perspective effects in the works, there is no clear distinction between the front and back planes. The works, created in a realistic style, are colored with shades of brown, green, gray and blue. As a result of the examination and evaluations, it was concluded that there were unity in the works in terms of composition, space and color. Primitive painters acted with a distinct sense of style in Turkish painting in terms of their subject and plastic approaches, and produced works that sociologically reflected the time and period in which they lived.