{"id":3638,"date":"2013-03-18T03:54:10","date_gmt":"2013-03-18T01:54:10","guid":{"rendered":"http:\/\/www.ilkkimbuldu.com\/?p=3638"},"modified":"2016-12-25T19:13:14","modified_gmt":"2016-12-25T17:13:14","slug":"resim-kim-buldu","status":"publish","type":"post","link":"https:\/\/www.ilkkimbuldu.com\/?p=3638","title":{"rendered":"Resim kim buldu"},"content":{"rendered":"

Resim duygu ve d\u00fc\u015f\u00fcncelerin \u00e7izgi, hareket, renk ve tonlarla\u00a0ka\u011f\u0131t, bez, mukavva, a\u011fa\u00e7 vs. y\u00fczeyler \u00fczerine kalem ve boyayla ifade edilme sanat\u0131. Plastik sanatlar\u00a0i\u00e7inde \u00f6nemli yeri olan resim, g\u00fcn\u00fcm\u00fczde yayg\u0131nd\u0131r. Formlar\u0131 siyah-beyaz olarak veya renk ve \u00e7izgiyle\u00a0iki boyutlu sat\u0131h \u00fczerinde tasvir edilen \u015fey, diye de tarif edilmektedir.\u00a0Duvar afi\u015fleri, rekl\u00e2mlar, kitaplar, end\u00fcstriyel yiyecek ve giyecek maddelerinin yaz\u0131 ve resimleri resim\u00a0sanat\u0131n\u0131n i\u00e7indedir. Tan\u0131nm\u0131\u015f kimselerin resimle anlat\u0131m\u0131, t\u00e2rih i\u00e7inde, zaman zaman \u00e7ok ra\u011fbet\u00a0g\u00f6rm\u00fc\u015ft\u00fcr. Matbaa<\/a>n\u0131n ke\u015ffinden \u00f6nce yaz\u0131lan el yazmas\u0131 kitaplar, resim ve tezyinatla s\u00fcslenerek
\nzenginle\u015ftirilmi\u015ftir.<\/p>\n

\u0130nsanl\u0131\u011f\u0131n ele ge\u00e7en en eski izleri olan ma\u011fara buluntular\u0131 aras\u0131nda dikkati en \u00e7ok\u00a0\u00e7eken Kuzey \u0130spanya, G\u00fcney Fransa ma\u011faralar\u0131ndaki duvara yap\u0131lm\u0131\u015f, renkli hayvan resimleri, av\u00a0sahneleri ve tabiata \u00e2it resimlerdir. En eski resimler \u0130spanya\u2019da Altom\u0131ra Ma\u011faralar\u0131nda 15.000 y\u0131l\u00a0\u00f6nceye \u00e2it oldu\u011fu san\u0131lan duvar resimlerindeki bizon (bo\u011fa fig\u00fcr\u00fc) resimleri olarak bilinmektedir.<\/p>\n

B\u00e2z\u0131 insan topluluklar\u0131 resmi, bir anlatma v\u00e2s\u0131tas\u0131 olarak kullanm\u0131\u015flard\u0131r. Haberle\u015fmede kullan\u0131lan
\nresim yaz\u0131lar (hiyeroglif), sonralar\u0131 bi\u00e7imlerini de\u011fi\u015ftirerek harf ve rakam \u015fekillerini alm\u0131\u015flard\u0131r. Bu
\nresimler, k\u00f6m\u00fcr h\u00e2line getirilmi\u015f odun ve kemik par\u00e7alar\u0131n\u0131n kalem olarak kullan\u0131lmas\u0131yla \u00e7izilmi\u015f ve
\nb\u00e2z\u0131lar\u0131 da sert cisimlerle kaz\u0131narak yap\u0131lm\u0131\u015ft\u0131r. Renk olarak tabi\u00ee boya olan toprak boyalar\u00a0kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n

M.\u00d6. 3000 y\u0131l\u0131ndan beri M\u0131s\u0131r\u2019da, mezar odalar\u0131n\u0131 ve duvarlar\u0131n\u0131, \u00f6l\u00fcn\u00fcn g\u00fcndelik hay\u00e2t\u0131ndan al\u0131nan
\nresim kesitleri ve tems\u00eeli tasvirler kaplar. M.\u00d6. 600 s\u0131ralar\u0131nda ise papir\u00fcsler \u00fczerine yap\u0131lan en eski
\nminyat\u00fcr say\u0131labilecek resimler kaz\u0131larda meydana \u00e7\u0131kar\u0131ld\u0131.<\/p>\n

Klasik Yunan devrinde (M.\u00d6. 400) resim tasvir sanat\u0131 olarak kabul edildi\u011finden bunlar da duvar
\nresimleri yapt\u0131lar. Tahta par\u00e7alar\u0131 tebe\u015firle astarland\u0131ktan sonra f\u0131r\u00e7a ile \u201ctempera\u201d tekni\u011finde resim
\nyap\u0131l\u0131yordu.<\/p>\n

Orta\u00e7a\u011fda Bizansl\u0131larda, renkli ta\u015flar\u0131n yan yana dizilerek yap\u0131lan mozayik resmin yan\u0131nda, freskler de
\n\u00f6nemli duvar s\u00fcslemesidir. M.S. 4. y\u00fczy\u0131ldan \u00eetib\u00e2ren par\u015f\u00f6men \u00fczerine alt\u0131n, g\u00fcm\u00fc\u015f, yald\u0131zl\u0131 \u00e7e\u015fitli
\nrenkli kitap resimleri yapm\u0131\u015flard\u0131r. \u201c\u0130kon\u201d ad\u0131 verilen tablo h\u00e2lindeki H\u0131ristiyanl\u0131\u011fa \u00e2it d\u00een\u00ee resimler
\norta\u00e7a\u011fda etkilidir. Be\u015finci y\u00fczy\u0131ldan beri \u0130rlanda ve Anglo Saksonlarda; 7. y\u00fczy\u0131ldan sonra da
\nAvrupa\u2019da kitap minyat\u00fcrleri en \u00f6nemli if\u00e2de v\u00e2s\u0131tas\u0131 olmu\u015ftur.<\/p>\n

Orta\u00e7a\u011f resminde, alt\u0131n zemin \u00fczerinde, mek\u00e2ns\u0131z, a\u011f\u0131rl\u0131ks\u0131z fig\u00fcrler, tabiattan uzak, d\u00een\u00ee, mistik hava
\ni\u00e7indeyken, yava\u015f yava\u015f tabiata yakla\u015fma ba\u015flad\u0131.<\/p>\n

Orta\u00e7a\u011f\u0131n sonlar\u0131nda Giotto<\/strong> ad\u0131ndaki \u0130talyan ressam\u0131, tablolar\u0131nda konunun yeri, perspektif, a\u00e7\u0131k-koyu\u00a0<\/strong>gibi unsurlar\u0131 i\u015fleyerek \u201cresmin babas\u0131\u201d \u00fcnv\u00e2n\u0131n\u0131 kazanm\u0131\u015ft\u0131r.<\/p>\n

Yeni\u00e7a\u011f\u0131n resim sanat\u0131na, Frans\u0131zcada \u201cyeniden do\u011fu\u015f\u201d anlam\u0131na gelen R\u00f6nesans<\/strong> ad\u0131 verilir. Bu
\n\u00e7a\u011f\u0131n haz\u0131rlan\u0131\u015f\u0131, geli\u015fmesi uzun s\u00fcrm\u00fc\u015f, fakat uygulad\u0131\u011f\u0131 kurallar resim sanat\u0131n\u0131n temeli olmu\u015ftur.
\nR\u00f6nesans sanat\u0131n\u0131n en g\u00fc\u00e7l\u00fc sanat\u00e7\u0131lar\u0131 Leonardo da Vinci, Michel-Angle, Raphael<\/strong>\u2019dir.
\nMasaccio, Floransa \u00e7\u0131\u011f\u0131r\u0131n\u0131 ilerletmi\u015ftir. Mek\u00e2n i\u00e7inde g\u00f6sterilen, hacim kazanan insan anatomisi
\ninceden inceye i\u015flenmi\u015ftir. Parlak renkleriyle Uccello<\/strong>, zarif fig\u00fcrleriyle F\u0131a Angelico<\/strong>, hayal d\u00fcny\u00e2s\u0131n\u0131
\nyans\u0131tan Boticelli<\/strong>, devrin insan ve k\u0131y\u00e2fetlerini resmetmekte Ghirlandajo<\/strong> me\u015fhurdurlar.
\nLeonardo da Vinci ile Raffaello<\/strong>\u2019da dengeli geometrik bir b\u00fct\u00fcn, kompozisyonda esast\u0131r. Raffaello d\u00een\u00ee
\nkonular yan\u0131nda, antik d\u00fcny\u00e2ya \u00e2it resimler de yapm\u0131\u015ft\u0131r. Tiziano, Giargione, Tinterretto<\/strong> \u0131\u015f\u0131klar\u0131
\nyans\u0131tan s\u0131cak renkleriyle ayr\u0131 bir \u00fcsl\u00fbp geli\u015ftirmi\u015flerdir.<\/p>\n

Kuzey \u00fclkerleri sanat\u0131na R\u00f6nesans ge\u00e7 girmi\u015ftir. Flamanlardan Hubert van Eyck<\/strong> ile karde\u015fi Jan<\/strong>
\n van Eyck<\/strong> (M.S. 1400) ya\u011fl\u0131 boyay\u0131 geli\u015ftirdiler. H. Bosch<\/strong> ile ba\u015flayan \u201chik\u00e2yeci resim\u201d Hollanda\u2019da
\nPietor Boughel<\/strong> ile geli\u015fti. Kuzey resminde d\u00e2im\u00e2 if\u00e2deye \u00f6nem verilmi\u015ftir. A. D\u00fcrer<\/strong> (Alman), s\u00e2de
\nif\u00e2de kudreti \u00fczerindeki ba\u015far\u0131s\u0131 ile tan\u0131n\u0131r. M. Gr\u00fcnewald<\/strong> (M.S. 1500) resimde renk ve f\u00e2deyi sembolik
\nde\u011ferlerle kuvvetlendirdi. H. Holbein<\/strong> portreleriyle \u00fcn sald\u0131.<\/p>\n

Resim Sanat\u0131nda Ak\u0131mlar<\/h2>\n

L\u00fcm\u00fcnistik sanat:<\/h3>\n

Rembrant ve Titien, yeni bir g\u00f6r\u00fc\u015fle kendi anlay\u0131\u015flar\u0131na uygun tablolar yapmaya
\nba\u015flad\u0131lar. G\u00f6stermek istedikleri k\u0131s\u0131mlar\u0131 ayd\u0131nlat\u0131yorlar, di\u011fer yerleri de g\u00f6lgeler i\u00e7inde b\u0131rak\u0131yorlard\u0131.
\nBu tarzda \u00e7al\u0131\u015fan ressamlar l\u00fcm\u00fcnistik sanat (\u0131\u015f\u0131k-g\u00f6lge) grubunda yer ald\u0131lar.
\nBarok sanat\u0131: R\u00f6nesans\u0131n d\u0131\u015f y\u00fcze \u00e2it kompozisyonlar\u0131, \u0131\u015f\u0131k-g\u00f6lge oyunlar\u0131yla hareketlenen renk
\nk\u00fctlelerine yerini b\u0131rak\u0131r. Mek\u00e2nda g\u00f6z derinlere \u00e7ekilir. \u0130spanya\u2019da El Greco (1541-1614) mistik
\nhavada d\u00een\u00ee resimleriyle; Velazquez (1599-1660) portreleri ve t\u00e2rih\u00ee resimlerine \u0131\u015f\u0131k katarak
\nhareketlendirdi\u011fi mek\u00e2nlar\u0131yla barok ustas\u0131d\u0131rlar. Ruisdael, Hobbema gibi Hollandal\u0131 ressamlar,
\nRembrant gibi, manzara resmine duygulu bir \u00fcsl\u00fbp kazand\u0131rm\u0131\u015flard\u0131r.<\/p>\n

Romantizm (duygusall\u0131k):<\/h3>\n

Romantizm resim anlay\u0131\u015f\u0131, konular\u0131 daha \u00e7ok duygusal y\u00f6nden ele ald\u0131.\u00a0Genellikle peyzaj ve toplum ya\u015fay\u0131\u015f\u0131n\u0131 ele alan bu grubun ressamlar\u0131 tabiat ve insanlar\u0131 belirtmeye\u00a0\u00e7al\u0131\u015fm\u0131\u015flard\u0131r. Delaecoix, Corot, Goya ba\u015fl\u0131ca ressamlard\u0131r.<\/p>\n

Realizm (Ger\u00e7ek\u00e7ilik):<\/h3>\n

Bu ak\u0131mdan \u00f6nce konular, saray ve saray ya\u015fant\u0131lar\u0131, portreler ve en g\u00fczel\u00a0manzaralar dikkatle se\u00e7ilip i\u015flenirdi. Tabiat\u0131 oldu\u011fundan daha g\u00fczel ve y\u00fcksek g\u00f6stermek gelenek\u00a0h\u00e2lini alm\u0131\u015ft\u0131. Millet, Courbet, Davmier halk\u0131n ya\u015fay\u0131\u015flar\u0131n\u0131 konu al\u0131p, hay\u00e2t\u0131 ve tabiat\u0131 oldu\u011fu gibi\u00a0yans\u0131tm\u0131\u015flard\u0131r. Realizme g\u00f6re; ger\u00e7ek, g\u00fczel olan \u015feydir.<\/p>\n

Empresyonizm (\u0130zlenimcilik):<\/h3>\n

Yeniliklerin hareket noktas\u0131 say\u0131l\u0131r. Empresyonistler tabiattan ald\u0131klar\u0131\u00a0konular\u0131 resimliyorlard\u0131. A\u00e7\u0131k havaya, k\u0131rlara \u00e7\u0131kan ressamlar, her an de\u011fi\u015fen \u0131\u015f\u0131k ve g\u00f6lgeleri, tabiat\u0131n\u00a0canl\u0131l\u0131\u011f\u0131n\u0131 k\u00fc\u00e7\u00fck f\u0131r\u00e7a vuru\u015flar\u0131yla, renk h\u00e2linde ge\u00e7iriyorlard\u0131. Mesel\u00e2 a\u011fa\u00e7lar\u0131n ye\u015fil rengi \u00f6\u011fle \u00fczeri\u00a0daha parlak, daha canl\u0131 g\u00f6r\u00fcld\u00fc\u011f\u00fc h\u00e2lde ak\u015fama do\u011fru koyu renkte ve donuk g\u00f6r\u00fcn\u00fcr.\u00a0Bu ak\u0131m\u0131n sanat\u00e7\u0131lar\u0131 a\u00e7\u0131k havada \u00e7al\u0131\u015fmaya \u00f6nem vermi\u015flerdir. \u00c7\u00fcnk\u00fc arad\u0131klar\u0131 canl\u0131 ve temiz\u00a0renkleri g\u00fcn \u0131\u015f\u0131\u011f\u0131n\u0131n parlakl\u0131\u011f\u0131nda bulmu\u015flar, koyu ve karanl\u0131k renklere resimlerinde yer\u00a0vermemi\u015flerdir. Renk, ya oldu\u011fu gibi veya de\u011ferini d\u00fc\u015f\u00fcrmeyen ba\u015fka renkle kar\u0131\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r. I\u015f\u0131klar\u00a0sar\u0131, turuncu, k\u0131rm\u0131z\u0131 tonlar\u0131nda aranm\u0131\u015f, g\u00f6lgelerde bunlar\u0131n z\u0131tlar\u0131 olan m\u00e2vi, mor, ye\u015fille\u00a0boyanm\u0131\u015ft\u0131r. B\u00f6ylece renkleri kirletmeden e\u015fy\u00e2n\u0131n hacim etkisi sa\u011flanmaya \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Konular da
\nde\u011fi\u015fiyor, art\u0131k her t\u00fcrl\u00fc tabiat par\u00e7as\u0131 bir konu olabiliyordu. Saf renklerin \u00f6nem kazanmas\u0131 ile resim
\ngene d\u0131\u015f y\u00fcz\u00fcn i\u015flenmesine d\u00f6n\u00fcyordu.<\/p>\n

Empresyonizmin ileri gelen temsilcileri; E. Manet, Ey. Degas, P. Renoir, C. Monet, P. Ceazanne ise
\ndaha objektif, daha sa\u011flam \u015fekiller vererek ekspresyonizme do\u011fru ad\u0131m atm\u0131\u015f, daha geni\u015f renk
\nsat\u0131hlar\u0131na d\u00f6nm\u00fc\u015ft\u00fcr. P. Gauguin ile V. van Gogh, bu yolda ilerleyerek eserlerine ekspresyonizme
\nyakla\u015fan sembolik m\u00e2n\u00e2lar kazand\u0131rd\u0131lar. 1874\u2019te Paris\u2019te empresyonist ressamlar birle\u015ferek ortak bir
\nsergi a\u00e7t\u0131lar. Monet\u2019in \u201cG\u00fcne\u015f Do\u011farken \u0130zlenim\u201d adl\u0131 tablosu alay konusu oldu. Bu olaydan sonra
\n\u201cizlenimcilik\u201d ad\u0131n\u0131 ald\u0131lar.<\/p>\n

Ekspresyonistler (Anlat\u0131mc\u0131l\u0131k):<\/h3>\n

1901 y\u0131llar\u0131nda izlenimcilere tepki olarak do\u011fdu. Bu ak\u0131mda ki\u015finin\u00a0r\u00fbh\u00ee ya\u015fay\u0131\u015f\u0131 \u00f6nem kazand\u0131. Tabiat ikinci pl\u00e2nda kal\u0131r. Bu ak\u0131m\u0131n sanat\u00e7\u0131lar\u0131 kendilerini bo\u011fan, ezen\u00a0\u0131zd\u0131raplar\u0131, haks\u0131zl\u0131klara kar\u015f\u0131 olan isyanlar\u0131 yeni bir renk ve bi\u00e7im g\u00f6r\u00fc\u015f\u00fcyle anlatmak istemi\u015flerdir.\u00a0\u0130nsan v\u00fccutlar\u0131n\u0131 \u00e7irkin, y\u00fczlerini korkun\u00e7 yap\u0131yorlard\u0131. \u00c7izgileri kaprisli, kulland\u0131klar\u0131 renkler ise\u00a0ces\u00e2retlidir. \u0130lk ustalar\u0131 Van Gogh ve Munch; sonra K\u0131rchner, Nolde, Rouault, Modigliani\u2019dir.<\/p>\n

K\u00fcbizm:<\/h3>\n

K\u00fcbist sanat\u00e7\u0131lar hay\u00e2lin eseri olan bir d\u00fczen koymu\u015ftur. Saf geometriye dayanan k\u00fcbizm, plastik k\u00fcplerle d\u00fczenini kuruyorlard\u0131. K\u00fcbizm de ba\u015flang\u0131\u00e7ta di\u011fer sanat ak\u0131mlar\u0131 gibi anla\u015f\u0131lmam\u0131\u015f,\u00a0alaya al\u0131nm\u0131\u015ft\u0131r. Hemen hemen her ak\u0131mla ilgilenen Picasso k\u00fcbizmin de kurucular\u0131ndand\u0131r. Birinci\u00a0D\u00fcny\u00e2 Sava\u015f\u0131ndan \u00f6nceki y\u0131llarda Paris\u2019te geli\u015fmi\u015ftir. Braque, Gris, Liger bu ak\u0131m\u0131n\u00a0sanat\u00e7\u0131lar\u0131ndand\u0131r.<\/p>\n

Puvantilizm (Noktac\u0131l\u0131k):<\/h3>\n

Neo-empresyonizm (Yeni \u0130zlenimcilik) diye de sanat t\u00e2rihine ge\u00e7mi\u015f olan bu
\nak\u0131m, Empresyonist g\u00f6r\u00fc\u015flerin etkisinde kalm\u0131\u015f, bir bak\u0131ma onun dev\u00e2m\u0131 say\u0131l\u0131r. Puvantalistler,
\nbilimsel metotlarla renk kar\u0131\u015f\u0131m\u0131n\u0131 uygulam\u0131\u015flard\u0131r. G\u00e2ye g\u00f6z yolu ile renk kar\u0131\u015f\u0131mlar\u0131 sa\u011flamakt\u0131r.
\nSanat\u00e7\u0131lar renkleri paletlerinde kar\u0131\u015ft\u0131rarak tuvale s\u00fcrm\u00fcyorlar, onun yerine kar\u0131\u015f\u0131m\u0131n yapaca\u011f\u0131 renkleri
\nyanyana k\u00fc\u00e7\u00fck noktalar h\u00e2linde koyarak bu etkiyi sa\u011fl\u0131yorlard\u0131. Mesel\u00e2 sar\u0131 ve m\u00e2vi rengi, k\u00fc\u00e7\u00fck
\nnoktalar veya kareler h\u00e2linde yan yana s\u00fcr\u00fcld\u00fc\u011f\u00fcnde uzaktan ye\u015fil g\u00f6z\u00fck\u00fcr. G\u00f6z\u00fcn bu aldan\u0131\u015f\u0131
\nrenklerde titre\u015fim yapar, ho\u015f bir g\u00f6r\u00fcn\u00fcm de sa\u011flar. Seurat ve Signac bu ak\u0131m\u0131n ba\u015fl\u0131ca sanat\u00e7\u0131lar\u0131d\u0131r.<\/p>\n

F\u00fct\u00fcrizm (Dinamizm-Hareket):<\/h3>\n

1909 y\u0131l\u0131nda \u0130talya\u2019da \u00f6nce \u015fiirde sonra da resimde \u00e7\u0131kan, ge\u00e7mi\u015f ve\u00a0geleneksel g\u00f6r\u00fc\u015fleri reddeden bir ak\u0131md\u0131r.\u00a0F\u00fct\u00fcrizmde yap\u0131lmak istenen \u015fey, evrendeki hareketin bir \u00e2n\u0131n\u0131 tespit etmek de\u011fil, hareketin kendini\u00a0duyurmakt\u0131r. Bu ak\u0131ma g\u00f6re her \u015fey hareket h\u00e2lindedir ve de\u011fi\u015fmektedir. Bunlar daha \u00e7ok f\u0131rt\u0131nal\u0131
\ndenizler, son h\u0131zla giden otomobiller gibi hareketli konular\u0131 se\u00e7mi\u015flerdir.\u00a0Belliba\u015fl\u0131 sanat\u00e7\u0131lar\u0131 Boccioni, Severini, Balla\u2019d\u0131r.<\/p>\n

Fovizm (Y\u0131rt\u0131c\u0131l\u0131k):<\/h3>\n

H. Matisse 1905 y\u0131l\u0131ndaki b\u00e2z\u0131 ressamlarla birlikte eserlerini sergiledi. Bu\u00a0resimlerdeki renkler hemen hemen hi\u00e7 kar\u0131\u015fmam\u0131\u015flard\u0131. Bi\u00e7imlerde de derinlik yoktu. Ressamlar hi\u00e7 bir\u00a0kural tan\u0131madan kendilerini duygular\u0131na vermi\u015flerdi.\u00a0Bir ele\u015ftirici sergiyi gezerken, eserlerin aras\u0131nda klasik \u0130talyan \u00fcsl\u00fbbunda k\u00fc\u00e7\u00fck bir heykeli g\u00f6r\u00fcnce\u00a0\u201cVah\u015filer aras\u0131nda bir Donetello\u201d demi\u015fti. \u201cBir tabloya bakarken onun neyi g\u00f6stermek istedi\u011fini\u00a0unutmak gerek.\u201d g\u00f6r\u00fc\u015f\u00fc h\u00e2kimdir. B\u00f6ylece Fovistler olarak tan\u0131nd\u0131lar.\u00a0Matisse, Dufy, Vilamincle, Derain gibi sanat\u00e7\u0131lar bu ak\u0131mdand\u0131r.<\/p>\n

Dadaizm:<\/h3>\n

Resim, Edebiyat ve genel olarak sanatta bir ak\u0131md\u0131r. Birinci D\u00fcny\u00e2 Sava\u015f\u0131 s\u0131ras\u0131nda 1916\u2019da ba\u015flam\u0131\u015f, Almanya\u00a0ve Amerika\u2019da ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Dadaizm, eski toplum hay\u00e2t\u0131n\u0131, sanat ve k\u00fclt\u00fcr\u00fc topyek\u00fcn y\u0131kmay\u0131
\nhedef tutan bir ak\u0131md\u0131r. En ilgi \u00e7eken y\u00f6n\u00fc sanata kar\u015f\u0131 \u00e7\u0131kan bir ak\u0131m olmas\u0131yd\u0131. Temsilcileri\u00a0Duchamp, Picabia, Arsenberg\u2019dir.<\/p>\n

S\u00fcrrealizm (Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck):<\/h3>\n

S\u00fcrrealist ressamlar tabiat\u0131n mant\u0131k\u00ee g\u00f6r\u00fcn\u00fc\u015f\u00fcn\u00fc de\u011fil, insan\u0131n \u015fuur\u00a0alt\u0131nda ve r\u00fcy\u00e2lar\u0131ndaki \u00e2lemi g\u00f6stermek istemi\u015flerdir. Klee, Miro ve Salvador Dali bu dalda tan\u0131nm\u0131\u015f\u00a0isimlerdir.<\/p>\n

Soyut resim:<\/h3>\n

Abstre veya Nonfig\u00fcratif diye de adland\u0131r\u0131lan ve tabiat g\u00fcr\u00fclt\u00fclerine ba\u011fl\u0131\u00a0olmayan bir ak\u0131md\u0131r. Bi\u00e7im ve renklere serbestlik tan\u0131mas\u0131 sebebiyle heykeltra\u015fl\u0131k, s\u00fcsleme, dekor,\u00a0kost\u00fcm, g\u00fcnl\u00fck e\u015fy\u00e2lar\u0131n bi\u00e7im ve renkleri bile soyut sanat\u0131n etkisi alt\u0131nda kald\u0131. Bu ak\u0131m\u0131n g\u00e2yesi \u00e7izgi\u00a0ve renkleri d\u00fczenli bir bi\u00e7imde y\u00fczey \u00fczerine yerle\u015ftirerek duygusal kompozisyonlar elde etmektir.\u00a0Kandinsky ve Mondrian bu ak\u0131m\u0131n temsilcileridir.<\/p>\n

\u00c7a\u011fda\u015f resim alanlar\u0131n\u0131n do\u011fmas\u0131na etki eden fakt\u00f6rler:Ger\u00e7ekleri arama tutkusunun uyanmas\u0131;
\nend\u00fcstrinin geli\u015fmesiyle deney ve metodlar\u0131n \u00f6nem kazanmas\u0131; sosyoloji, psikoloji ve psikiyatri gibi
\nilimlerin ortaya \u00e7\u0131kmas\u0131d\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Resim duygu ve d\u00fc\u015f\u00fcncelerin \u00e7izgi, hareket, renk ve tonlarla\u00a0ka\u011f\u0131t, bez, mukavva, a\u011fa\u00e7 vs. y\u00fczeyler \u00fczerine kalem ve boyayla ifade edilme sanat\u0131. Plastik sanatlar\u00a0i\u00e7inde \u00f6nemli yeri olan resim, g\u00fcn\u00fcm\u00fczde yayg\u0131nd\u0131r. Formlar\u0131…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,15],"tags":[2800,1101,2802,2801],"class_list":["post-3638","post","type-post","status-publish","format-standard","hentry","category-egitim","category-eglence","tag-giotto","tag-resim","tag-resim-akimlari","tag-resim-sanati"],"_links":{"self":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts\/3638"}],"collection":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3638"}],"version-history":[{"count":4,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts\/3638\/revisions"}],"predecessor-version":[{"id":6783,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=\/wp\/v2\/posts\/3638\/revisions\/6783"}],"wp:attachment":[{"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3638"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3638"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ilkkimbuldu.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3638"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}