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NURI IYEM.
100 Nuri Iyem from 100 collections.= 100 koleksiyondan 100 Nuri Iyem. [Exhibiton catalogue]. 23 Aralik 2010 - 19 Subat 2011, Kibele Sanat Galerisi. Edited by Ahmet Kamil Gören, Neslihan Uçar.
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 163, [1] p., color and b/w ills. 100 Nuri Iyem from 100 collections.= 100 koleksiyondan 100 Nuri Iyem. [Exhibiton catalogue]. 23 Aralik 2010 - 19 Subat 2011, Kibele Sanat Galerisi. Edited by Ahmet Kamil Gören, Neslihan Uçar.
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OGUZ ERTEN, (1980-).
Özel koleksiyonlardan örneklerle Türkiye'de sanat koleksiyonculugu. 2 volumes set.
New Turkish Original bdg. HC. In special slip-case. 4to. (30 x 25 cm). In Turkish. 2 volumes set: (1050 p.), color ills. Özel koleksiyonlardan örneklerle Türkiye'de sanat koleksiyonculugu. History of art collecting in Turkey along with profiles of 112 art collectors.
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TURKISH CERAMIC PROMOTION COMMITTEE.
Ceramics in Turkey. The history of earth and fire. From Neolithic Age to date from the potter's whell to a giant industry. The 8000 year history of ceramic in Anatolia.
Fine Fine English Original bdg. Dust wrapper. 4to. (30 x 22 cm). In English. 194, [2] p., color ills. Ceramics in Turkey. The history of earth and fire. From Neolithic Age to date from the potter's whell to a giant industry. The 8000 year history of ceramic in Anatolia.
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Edited by ÖMER ALBAYRAK, ANITA IANNACHIONE, SOFIE KROGH KRISTENSEN.
15th Istanbul Biennial: A good neighbour. Stories.= 15. Istanbul Bienali: Iyi bir komsu. Hikayeler.
New English Original bdg. HC. Demy 8vo. (21 x 14 cm). In English and Turkish. 572, [40] p., ills. 15th Istanbul Biennial: A good neighbour. Stories.= 15. Istanbul Bienali: Iyi bir komsu. Hikayeler.
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Edited by ÖMER FARUK SERIFOGLU.
Abdülmecid Efendi: Ottoman prince and painter.
New New English Original bdg. Dust wrapper. 4to. (29 x 21 cm). In English. 222 p., color and b/w ills. Abdülmecid Efendi: Ottoman prince and painter. Abdülmecid Efendi - heir to the Ottoman throne, the last caliph, painter and musician - was an intellectual who in the debates and searchings of the period from the disintegration of the Ottoman Empire to the establishment of the new Turkish Republic was committed to modernisation and his belief in the compatibility of Islamic traditions and westernization. Abdülmecid Efendi, Ottoman Prince and Painter explores the art and life of this important figure 50 years after his death. Günsel Renda, emre Araci, Eylem Yagbasan and M. Sinan Genim reappraise his paintings, music, ideas and aspirations.
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GÖNÜL GÜLTEKIN.
Western trends in the Turkish art of painting.
Fine Fine English Original bdg. Dust wrapper. 4to. (28 x 20 cm). In English. 216 p., color ills. Western trend in the Turkish art of painting.
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SIMON HOUPT.
Kayip Eserler Müzesi: Sanat suçlarinin doruklari. [= Museum of the missing: The high stakes of art crimes]. Translated by Mine Haydaroglu. Preface by Julian Radcliffe.
Fine Turkish Original bdg. HC. 4to. (26 x 21 cm). Edition in Turkish. 192 p., color ills. Kayip Eserler Müzesi: Sanat suçlarinin doruklari. [= Museum of the missing: The high stakes of art crimes]. Translated by Mine Haydaroglu. Preface by Julian Radcliffe. The past few years have been tough on Edvard Munch. First the Norwegian Expressionist's iconic painting The Scream was stolen in 1994. Then it was recovered, and a different version was stolen in 2004. It seems that Munch is getting more than his fair share of attention from thieves, but he's not alone. These days, no artist?s work is safe. The international police agency, Interpol, currently lists as stolen more than twenty-five thousand works of art. This figure includes sculptures, furniture, clocks, and antiquities, as well as paintings. The number of paintings alone is staggering. Rembrandts, Renoirs, Van Goghs, Picassos. You could fill a museum. In Museum of the Missing, journalist Simon Houpt investigates the fascinating story of modern art theft. What started as looting of art treasures by invading armies, including the Nazis during World War II, has exploded into a sophisticated international operation. But grand art thefts are only part of this fascinating story. Houpt takes the reader into the backrooms of Scotland Yard, the FBI, and Interpol as crack art-recovery squads mount surveillance operations and elaborate stings. He also leads readers into a tangled underworld of money laundering, drugs, illegal arms trading, and terrorism?where the stakes for both sides are very high. The stakes for lovers of art are just as high. Many of the world's stolen masterpieces will probably not be recovered in the foreseeable future. Some may never be seen by the public again. Museum of the Missing offers an extraordinary glimpse of these lost treasures.
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GIANNI CAFFIERO, IVAN SAMARINE.
Denizler, sehirler ve düsler: Ivan Aivazovsky'nin resimleri.
New New Turkish Original bdg. Dust wrapper. 4to. (33 x 24 cm). In Turkish. 320 p., color ills. Denizler, sehirler ve düsler: Ivan Aivazovsky'nin resimleri.
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AGENCY 'VAAP'.
Fine arts of Uzbekistan. Arts literature, reproductions of pieces of fine art.= Iskusstvo Uzzbekistana. Izoprodukchiia, literatura po izkusstvi.
Very Good English Paperback. Large roy. 8vo. (26 x 17 cm). In English and Russian. 62, [2] p., color and b/w ills. Fine arts of Uzbekistan. Arts literature, reproductions of pieces of fine art.= Iskusstvo Uzzbekistana. Izoprodukchiia, literatura po izkusstvi. 500 copies were printed.
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Edited by IPEK TÜRELI.
Retrospective: Aesthetics and art in the 20th century. [= 20. yüzyilda estetik ve sanat].
New English Paperback. 4to. (28 x 21 cm). Edition in English. [6], 135 p., b/w ills. Aesthetics and art in the 20th century. [= 20. yüzyilda estetik ve sanat]. Why this topic? Why now? SANART is the only association of aesthetics in Turkey. It has the mission of enthusing and building up a public for the raised awareness of issues related with aesthetics and art. For the past ten years now, it has carried this mission to the practical realm in Ankara, where it is based, through the organisation of symposia, exhibitions and publications. To coincide with the closure of the twentieth century, on its tenth year, SANART decided to re-evaluate the century in terms of various approaches to the field of aesthetics and art. Twelve participants, who were invited and whose texts are included in this book, were asked to bring forth specific issues within the general problematic of the twentieth century. The objective was more to do with understanding our concerns with the new century, while reflecting upon the previous one, than providing all encompassing accounts of historiography. Why the book? Publications are very important for SANART because as an association it seeks to maintain permanence in the cultural sphere of Turkey, and to achieve that permanence, although the continuity of temporal events help, it is essential to accumulate written material. All of the symposia that SANART has organised have been published or are pending publication. Because of the significance and timely relevance of the topic, this book aims to disseminate the ideas discussed in the symposium to a wider public than that of the locality of Ankara, to a world audience, which is why it has been decided to publish it in English. The programme of the symposium was arranged so that the first half focused on art work and aesthetics followed by the "avant-garde" discussion and the second half concentrated on issues of architecture, politics and aesthetics. In editing the book, the order of the sessions of the symposium was maintained so that the lines of thought that emerged during the Symposium can be followed in the Discussion and Afterwords without much difficulty. In an overview of the texts, it is possible to discern that one of the major shifts that occurred in art in the twentieth century was that with the advent of new technologies and the possibility of wider dissemination, artists vocally assumed new roles to themselves while simultaneously critics and theoreticians assigned new tasks to the domain of art.
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DAVID HOCKNEY, MARTIN GAYFORD.
Magaradan bilgisayar ekranina resmin tarihi. [= A history of pictures. From the cave to the computer screen]. Translated by Mine Haydaroglu.
New New Turkish Original bdg. Dust wrapper. 4to. (28 x 24 cm). Edition in Turkish. 360 p., color and b/w ills. Magaradan bilgisayar ekranina resmin tarihi. [= A history of pictures. From the cave to the computer screen]. Translated by Mine Haydaroglu.
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IVAN CHERMAYEFF.
Chermayeff. Geismar symbols, logotypes and graphic design from the last five decades.= Chermayeff. Geismar son 50 yilin amblem, logo ve tasarimlari. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 264 p., color ills. Chermayeff. Geismar symbols, logotypes and graphic design from the last five decades.= Chermayeff. Geismar son 50 yilin amblem, logo ve tasarimlari. [Exhibition catalogue]. Considered as one of the most brilliant graphic designers of the 20th century, Ivan Chermayeff has created a number of truly memorable designs with his partner Tom Geismar. Through his unique and exceptional work on the emblem, logo and corporate identity designs of Koç Holding and various other Koç companies, he has made it possible for the names of these institutions, and by extension Turkey, to be acknowledged by the world of design. Since its founding in 1957, Chermayeff & Geismar has pioneered a transformation in the practice of graphic design. Located in New York but working for clients in many countries, especially Turkey, they have pursued a collaborative, multidisciplinary approach across a broad range of projects and disciplines, from the development of scores of famous trademarks to the design of notable museum exhibitions, from hundreds of imaginative posters for cultural events to largescale artworks for distinguished architectural projects. Throughout all these tasks, Chermayeff & Geismar's work has remained consistent, not in style, but in its approach to design. Accepting the Modernist ideal that design is a problem-solving discipline, they have sought to humanize that ideal through humor, artistic invention and an entrepreneurial spirit.
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IVAN CHERMAYEFF.
Ivan Chermayeff. Collages and small sculptures.= Ivan Chermayeff: Kolajlar ve küçük heykeller. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 188 p., color ills. Ivan Chermayeff. Collages and small sculptures.= Ivan Chermayeff: Kolajlar ve küçük heykeller. Ivan Chermayeff has been producing collages and assemblages for over forty years, utilizing the everyday ephemera collected in different parts of the world where he has worked and traveled. He saves the envelopes received from friends and colleagues, who send him abandoned gloves, discarded candy wrappers and other visual delights to add to those he has picked up on the streets of the world. Since the mid 1950s, Chermayeff has been practicing as a graphic designer, in New York with his partner Tom Geismar. His collages have been exhibited and published in the United States, Europe and Japan.
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Edited by ZEYNEP YASA YAMAN.
Beyond the apparent: A selection from the art Collection of the Central Bank of the Republic Of Turkey.= Suretin sireti: Türkiye Cumhuriyeti Merkez Bankasi sanat koleksyonu. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 265 p., color ills. Beyond the apparent: A selection from the art Collection of the Central Bank of the Republic Of Turkey.= Suretin sireti: Türkiye Cumhuriyeti Merkez Bankasi sanat koleksyonu. The collection of the Central Bank of the Republic of Turkey, which was founded on 3 October 1931, is comprised of modern/contemporary works of art, such as paintings, sculptures, drawings, prints, and installations created with different techniques and means of expression by artists of different generations, born between 1882 and 1960, and produced their respective works over a hundred years from 1908 onwards to date. The collection brings into view key current discussions on Turkey and additionally offers an idea about the changing art concepts during this process. Curated by Zeynep Yasa Yaman, the exhibition and catalogue showcase a selection from this rich collection.
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FRIDA KAHLO, DIEGO RIVERA
Frida Kahlo & Diego Rivera. From the Gelman Cellection.= Frida Kahlo & Diego Rivera. Gelman Koleksiyonu'ndan. [Exhibition catalogue]. Curated by Helga Prignitz-Poda. Edited by Begüm Akkoyunli Ersoz, Tania Bahar.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 253 p., color ills. Frida Kahlo & Diego Rivera. From the Gelman Cellection.= Frida Kahlo & Diego Rivera. Gelman Koleksiyonu'ndan. [Exhibition catalogue]. Curated by Helga Prignitz-Poda. Edited by Begüm Akkoyunli Ersoz, Tania Bahar. The Frida Kahlo and Diego Rivera from the Gelman Collection exhibition introduced art lovers to two of the most outstanding and globally renowned Mexican figures of 20th century art. Generating wide interest, as much with their unique characters, life stories, and intriguing relationship, as with their oeuvre, these two artists were welcomed for the very first time to Turkey with this exhibition presenting over forty of their works. Collectors Jacques and Natasha Gelman spent a significant portion of their lives in Mexico; the works included in the couple's extensive collection, encompasses 20th century Mexican art, outstanding Frida Kahlo self-portraits, that reflect the profound traces of her artistic personality, as well as rare examples of Diego Rivera's canvas paintings. This globally acclaimed collection was previously presented to audiences only through a limited number of exhibitions outside of Mexico. Apart from the most favored Frida Kahlo works of the "Frida Kahlo Retrospective" organized in Berlin and Vienna in 2010, the exhibition at Pera Museum also included Diego Rivera's paintings.
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NIICKOLAS MURAY, (1892-1965).
Nickolas Muray. Portrait of a photographer.= Bir fotografçinin portresi. [Exhibition catalogue].
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 205 p., color and b/w photos. Nickolas Muray. Portrait of a photographer.= Bir fotografçinin portresi. [Exhibition catalogue]. Renowned as the most successful portrait and fashion photographer of New York in the 1920s, American-Hungarian photographer Nickolas Muray (1892-1965) revolutionized photography with his use of natural color photography in advertising in the 1930s. For the first time ever, Muray's photographs can be seen at Pera Museum between January 25 and April 21, 2013. Curated by Salomon Grimberg, the exhibition brings together Nickolas Muray's photographs in a retrospective. Garnered from George Eastman House, the famous photography archive in the US, the Nickolas Muray Archive, which is under the direction of the Muray family, and various private collections, this selection summarizes Muray's career, covering nearly 50 years. Besides Muray's black-and-whites, the exhibition presents some of the color photographs that made him famous in Hollywood circles and the American advertising industry. Muray has photographed many famous actors, dancers, artists, and writers, from Greta Garbo to Marilyn Monroe, from Elizabeth Taylor to Martha Graham; he is also known for the first color photographs he took for famous brands such as Lucky Strike, Coca Cola, and General Foods. Published regularly in some of the most prominent magazines of his time like The New York Times, Vanity Fair, Vogue, Harper's Bazaar, Dance, Shadowland, and Theater, these photographs are accompanied by the artist's portraits of Frida Kahlo, his great love.
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JAKE & DINOS CHAPMAN.
Jake & Dinos Chapman. In the realm of the senseless.= Anlamsizlik âleminde. [Exhibition catalogue]. Curated by Süreyyya Evren.
New New English Original bdg. Dust wrapper. 4to. (27 x 21 cm). In English and Turkish. 158, [2] p., color ills. Jake & Dinos Chapman. In the realm of the senseless.= Anlamsizlik âleminde. [Exhibition catalogue]. Curated by Süreyyya Evren. The book published on the occasion of Jake and Dinos Chapman's exhibition "In the Realm of the Senseless" opens with an introductory overview by the exhibition's curator Nick Hackworth on the philosophical aspects of the artist duo's practice. Nick Hackworth's interview with Jake Chapman, prepared specifically for this book, covers several matters of debate regarding the exhibition. Featuring a specific text written by Jake Chapman on their print series "Insult to Injury" and an overall review of Chapmans' oeuvre by researcher Cüneyt Çakirlar, the book ends with a 'visual essay' based on the works in the exhibition.
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STEPHEN CHAMBERS.
Stephen Chambers. The big country and other stories.= Stephen Chambers. Büyük ülke ve diger hikâyeler. [Exhibition catalogue]. Prep. by Alanur Ataç, Begüm Akkoyunlu Ersöz, Tania Bahar.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 105 p. Color ills. "This exhibition, curated by Edith Devaney, Curator of Contemporary Projects at the Royal Academy of Arts, London, presents a survey of Stephen Chambers' painting and graphic works, shown alongside his vast multi-part print, The Big Country. This selection seeks to explore the origins of The Big Country (2012), demonstrating that its development is firmly rooted in the artist's past practice and deeply indebted to the European tradition of art. The sense of a story being told is a feature of many of Chambers' works, and writings are often a stimulus for this, as seen in Chambers' Flemish Proverbs series, which are also exhibited. Inspired by the landscape and scale of the American Western film The Big Country (1958), Chambers' immense work explores a myriad of fictional encounters between real and imagined historical figures. The notion of the journey and discovery of new lands has here expanded into a depiction of the five continents and the points of departure from one continent to another, raising a fascinating take on the perils and challenges of migration. Stephen Chambers is primarily a painter, however printmaking has always formed a significant part of his work. He has noted in the past that prints produced by artists whose main discipline is not printmaking, can often be the most compelling. For such artists, print-making offers another element of expression and provides an opportunity to experiment, a notion which is borne out in Chambers' finished monumental work.".
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Edited by BEGÜM AKKOYUNLU ERSÖZ, TANIA BAHAR.
Cold front from the Balkans.= Balkanlardan gelen soguk hava. [Exhibition catalogue].
New English Paperback. 4to. (29 x 25 cm). In English and Turkish. 136 p., color and b/w ills. Cold front from the Balkans.= Balkanlardan gelen soguk hava. [Exhibition catalogue]. "Pera Museum's Cold Front from the Balkans exhibition curated by Ali Akay and Alenka Gregori? brings together contemporary artists from Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo, Macedonia, Montenegro, Romania, Serbia and Slovenia. Alenka Gregoric is an art historian, curator and writer. She previously worked as artistic director of Skuc Gallery, Ljubljana and currently she is the artistic director and curator at City Art Gallery Ljubljana and CC Tobacco 001. In 2009 she was the curator of Slovenian pavilion at Venice Biennial and co-curator of 28th Graphic Biennial in Ljubljana, and in 2011 she was co-curator of the 52nd October Salon in Belgrade, in 2014 one of the curators for the Curated by Vienna. Her various curated exhibitions featured works by artists such as Vuk Cosic, Jan Fabre, Omer Fast, Harun Farocki, Vadim Fiskin, IRWIN, Jannis Kounellis, Rabih Morue, Ivan Moudov, Dan Perjovschi, Marjetica Potrc, Mladen Stilinovic, Rasa Todosojevic, Bill Viola, Katarina Zdjelar and many others. In addition she has written numerous essays, reviews and articles for various artist books, catalogues and other publications.
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4TH JAMEEL PRIZE.
Jameel Prize 4.= 4. Jameel Ödülü. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Salma Tuqan, Tania Bahar, Tim Stanley.
New English Original bdg. 4to. (28 x 24 cm). In English and Turkish. 151 p., ills. Jameel Prize 4.= 4. Jameel Ödülü. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Salma Tuqan, Tania Bahar, Tim Stanley. Jameel Prize 4 exhibition in Istanbul organised by the Victoria and Albert Museum, London in partnership with Art Jameel, and in collaboration with the Pera Museum is between 8 June 2016 and 14 August 2016. Over 280 nominations for the Jameel Prize 4 were received from countries as far ranging as Afghanistan, Mali, Puerto Rico and Thailand. A panel of judges, chaired by V&A Director, Martin Roth, selected the shortlist. Works on show will range from delicate paper collages to an animated video installation with marionettes and from ceramics, calligraphy and sculpture to artist's books. The winner will be announced in June. The eleven shortlisted artists and designers are David Chalmers Alesworth, Rasheed Araeen, Lara Assouad, CANAN, Cevdet Erek, Sahand Hesamiyan, Lucia Koch, Ghulam Mohammad, Shahpour Pouyan, Wael Shawky ve Bahia Shehab. The Jameel Prize 4 exhibition in Istanbul is organised by the Victoria and Albert Museum, London, in partnership with Art Jameel, and in collaboration with the Pera Museum.
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NIKO PIROSMANI.
Pirosmani. A legend in naive art.= Naif sanatta bir efsane. [Exhibition catalogue]. Edited by R. Baris Kibris. Curated by Irina Arsenishvili.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 123 p., color ills. "Since its establishment, Pera Museum has hosted works by several outstanding artists representing different genres. In 2007, the museum opened its doors to one of the most intriguing creative artists in the world, the Georgian peasant painter Pirosmani. This exhibition of Pirosmani's naïve paintings took us on a journey through joyous feasts of colour, scent, and forms, through the blossoming meadows, villages, and animals of a neighbouring country. Recognized only by his immediate circle while he was still alive, Pirosmani gained acknowledgment in the 1920s and 30s, particularly in the Western art circles, in which primitive and naïve artists were starting to be appreciated. Since then, his paintings continue to fascinate art connoisseurs in the world with their unprecedented sincerity and charm. Niko Pirosmani (1862-1918) was born to a peasant family in one of the regions of Georgia - Kakheti, in the village of Mirzaani. During his life, most of which he spent in Tbilisi, he never received any professional education. In 1882, he opened a studio with another painter, Gigo Zaziashvili, accepting commissions for signboards. However, the partners soon went bankrupt. For mere subsistence, he occasionally worked in Tbilisi 'dukhans' (tavern), or at the rail station, dying in poverty in Tbilisi, in 1918. Art was the goal of his whole being, his life's vocation. Towards the end of the 1890s, he devoted himself exclusively to painting. Pirosmani's life was hard and tragic. The artist was homeless and lonely. Whenever he could afford it, he would rent a small room in the basement or under a staircase. Often, he would spend the night where he worked. Pirosmani passed away in loneliness and obscurity in 1918. Even the location of his grave remains unknown. As it usually is the case, after his death, the artist's works were collected and bought, references about his life were sought, and publications started to flood the newspapers. Pirosmani's name and his works were famed and appreciated worldwide. Pirosmani's paintings speak for the great mastery of the artist. Most of them are performed on black oilcloth, which was his technological expertise. It is known that Pirosmani created quickly; it only took him several hours or days to paint. He worked rapidly and spontaneously. A certain clue to unveiling Pirosmani's artistic conception is the inscriptions and names on the paintings, the meaningful connotation of which defines the artistic order of the painting. In each specific case, the common compositional structure, time, space interpretation, rhythm, manner of conveying the form and colour expression directly respond to the defining role of the artistic image. Pirosmani, as an artist, was first discovered in 1912 by Ilya Zdanevich (Ilyazd), a poet and an active representative of Georgian, Russian and European avant-garde, along with his brother artist Kiril Zdanevich, and the artist Michael Le Dantiu. At the avant-garde exhibition 'Mishen' (Target) held in Moscow, in 1913, Ilya Zdanevich presented Pirosmani's works to the public for the first time and began promoting the artist through different publications thereafter. He also arranged an exhibition for Pirosmani in his art studio in 1916. Interest towards Pirosmani grew considerably. The same year, he was invited to the meeting of 'Georgian Artists' Society.' The artist's photograph and a reproduction of his painting were published in the newspaper 'Tsnobis Purtseli' ('Messenger'). Pirosmani was starting to be recognized by Georgian artists and the public. Today, Pirosmani is known across the world and his art has long reached beyond the borders of his native country.".
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SABRI BERKEL, (1907-1993).
Sabri Berkel. [Exhibition catalogue]. 2-30 Mart 2000, Axa Oyak Sanat Galerisi. Texts by Tamer Basoglu,, Mehmet Güleryüz, Devrim Erbil, Levent Çalikoglu.
New English Paperback. 4to. (30 x 221 cm). In English and Turkish. 32 p., color ills. Sabri Berkel. [Exhibition catalogue]. 2-30 Mart 2000, Axa Oyak Sanat Galerisi. Texts by Tamer Basoglu,, Mehmet Güleryüz, Devrim Erbil, Levent Çalikoglu. 1000 copies were printed.
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GARO KÜRKMAN.
Osmanli gümüs damgalari.
New New Turkish Original bdg. Dust wrapper. Folio. (32 x 24 cm). In Turkish. 294 p., color ills. Osmanli gümüs damgalari. Ottoman silver stamps.
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ESIN ATIL.
Levni and the Surname: The story of an eighteenth century Ottoman festival.
New New English Original bdg. HC. In publisher's special slip-case. 4to. (31 x 31 cm). In English. 247, [3] p., color ills. Levni and the Surname: The story of an eighteenth century Ottoman festival. Levni's pictorial narrative of the Surname-i Vehbi, poet Vehbi's account of the festival organized in 1720 to commemorate the circumcision of four sons of Sultan Ahmed III, is undoubtedly one of the masterpieces of Ottoman art and possibly the last great example of illustrated Islamic manuscript. Preserved in the Topkapi Palace Museum in Istanbul, the work is illustrated with 137 paintings that re-create the personages, settings, and events of an extraordinarily lively and enchanting age known as the Tulip Period.
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ISMAIL ACAR.
Rumi. [Exhibition catalogue].
New German Original bdg. HC. 4to. (30 x 24,5 cm). In German, English and Turkish. 52 p., color ills. Rumi. [Exhibition catalogue]. An exhibition catalog which contains collected material of traditional-modern Turkish and Islamic arts mostly paintings by Acar on Mawlana Jelaleddin Roumi and Mevlevism.
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AHMET ZEKI YAVAS et alli.
Beyoglu'nda Klasik Sanatlar Sergisi. [Exhibition catalogue].
New Turkish Original bdg. HC. 4to. (30 x 24,5 cm). In Turkish. 53, [1] p., color ills. Beyoglu'nda Klasik Sanatlar Sergisi. [Exhibition catalogue]. An exhibition catalog which contains collected material of traditional-modern Turkish and Islamic arts such miniature, painting, marbling, calligraphy and illumination.
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METIN AND.
Ottoman figurative arts 1: Miniature.
New New English Original bdg. Dust wrapper. 4to. (29 x 23 cm). Edition in English. 600 p., color ills. For over fifty years, Metin And championed Turkish theatre, traditional performing arts, festivities and the art of Ottoman miniature in dozens of articles and ten titles in Turkish and other languages. The list ends with "Ottoman Figurative Arts I: Miniature", which attests to And's fascination with the subject. A fundamental "art of the book" as well as a courtly art form, miniature favoured a highly realistic depiction of daily life, human beings, the urban fabric and buildings - an aspect promoted widely in And's work. Miniature's main function was illustrating manuscripts. As "Ottoman Figurative Arts I: Miniature" ably demonstrates, the target audience was either the sultan, or high-ranking statesmen. Manuscripts so illustrated were prohibitively costly works of art, safeguarded in the Treasury, and any illustrated manuscript captured in battle would have delighted the victorious commander and sultan equally. An indispensable reference book, the lavishly illustrated "Ottoman Figurative Arts I: Miniature" covers the stages in the development of the art in the Ottoman Empire, an overview of the studios, techniques and methods of this courtly art, and includes a splendid Album of portraits, lives of the sultans, the palace, festivals, literary works, religious topics, landscapes and townscapes, scientific and encyclopaedic subjects, the world of birds, animals and fantastic creatures as well as women and men.
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TAHA TOROS.
Turco-Polish relation in history.= Geçmiste Türkiye-Polonya iliskileri.
Fine English Paperback. Pbo. 4to. (30 x 22 cm). In English and Turkish. 45, [2] p., b/w ills. and documents. Turco-Polish relation in history.= Geçmiste Türkiye-Polonya iliskileri. A tractate on Turkish (Ottoman)-Polish international relations and diplomacy.
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GÜNSEL RENDA.
A 19th century album of Ottoman Sultans' portraits. Suna and Inan Kiraç Collection.= Osmanli Padisah portreleri. Bir 19. yüzyil albümü. Inan ve Suna Kiraç Koleksiyonu.
New English Original bdg. HC. In publisher's special box. Folio. (38 x 28 cm). In English and Turkish. A 19th century album of Ottoman Sultans' portraits. Suna and Inan Kiraç Collection.= Osmanli Padisah portreleri. Bir 19. yüzyil albümü. Inan ve Suna Kiraç Koleksiyonu. In the mind of every Turk, there is a set image for Ottoman Sultans that he has acquired from a variety of sources: school books, historical texts, encyclopaedias, etc. The Ottoman royal image is not altogether unknown to the Europeans either. This is due to the fact that there is a pictorial record of the Ottoman Sultans created by the numerous portraits produced through the centuries by Turkish and European artists. It was a great pleasure for me to write the explanatory text to this special album of sultan portraits in Inan and Suna Kirac collection. The absence of an original text in the album itself complicated the study of the portraits in view of their iconography, especially the richly detailed backgrounds and attributes used for each sultan. This necessitated a thorough study of historical sources and a search for comparative albums. Nevertheless 17 similar albums dating from approximately the same period were recorded and listed after the text. The main question was to explore into the realm of the Ottoman artist to discover his approach to portraiture. In Islam, to read a person's character through the study of his physiognomy has been a science. With this in mind, did the Ottoman artist confine himself only to the preset details of each sultan's physiognomy or did he enrich his knowledge about the sultans through other sources? I strongly believe that the artist of the Kirac album did this. Therefore, in the short texts accompanying each portrait, I chose to give a brief record of the sultan's deeds, interests and personality as revealed in historical sources. In this way, it would be easier to comprehend the artist's interpretation. In the main text, I tried to give a comprehensive summary of the history of royal portraiture among the Ottomans and presented the prototypes to this album. Then came a discussion of the Kirac album itself not only in view of its artistic value but also as a significant source of information about imperial attire and certainly the artistic milieu of the Ottoman Empire in the first decades of the 19th century.
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FAHRELNISSA ZEID, (1901-1991).
Always a searcher, always a fighter: Unknown and little-known works of Fahrelnissa Zeid.= Hep arayan, hep savasan: Fahrelnissa Zeid'in bilinmeyen ve az bilinen isleri.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 90 p., color ills. Always a searcher, always a fighter: Unknown and little-known works of Fahrelnissa Zeid.= Hep arayan, hep savasan: Fahrelnissa Zeid'in bilinmeyen ve az bilinen isleri. She is one of the pioneering artists of Turkish modernism in the 1940's and of the post-war France avant-garde. Daughter of Kabaagaçli Sakir Pasha, niece of Grand Vizier Cevat Pasha, and sister of painter Aliye Berger and writer Cevat Sakir Kabaagaçli, a.k.a Halikarnas Balikçisi, Fahrünissa Zeid took her surname from Emir Zeid, the brother of Iraqi King Faysal I; she changed the spelling of her name to Fahrelnissa in France. She is the first woman artist exhibited at the Institute of Contemporary Arts, London. She joined the "d Grup" in 1942 in Istanbul, a time she already started to create her unique, extraordinary path. She focused on abstract painting; she became celebrated for her monumental and dynamic abstract compositions that engulf the viewer in fields of color, light, and energetic movement, intertwining cosmic and inner universes. Later in her life, she painted portraits of her family and friends. In 1975 she moved to Amman and founded Fahrelnissa Zeid Institute of Fine Arts in that city.
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CAN TASPULAT et alli.
Denizbank Osmanli Sultanlari Koleksiyonu.
New Turkish Original bdg. HC. 4to. (29 x 29 cm). In Turkish. [84] p., color ills. Denizbank Osmanli Sultanlari Koleksiyonu. Ottoman Sultans Collection of Denizbank.
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JORGE MARIN, (1963-).
Jorge Marin. The reconstruction of the being.= La reconstruccion del ser.= Varligin yeniden insasi ya da Jorge Marin'in heykelleri. [Exhibition catalogue]. Curated by Maria Elena Catalan Roldan.
New New English Original bdg. Dust wrapper. 4to. (32 x 22 cm). In English, Spanish, and Turkish. 200, [3] p., b/w and color ills. Jorge Marin. The reconstruction of the being.= La reconstruccion del ser.= Varligin yeniden insasi ya da Jorge Marin'in heykelleri. [Exhibition catalogue]. Curated by Maria Elena Catalan Roldan. The exhibition will feature monumental sculptures of the artist created in recent years. This will be the first exhibit of Jorge Marin in Eastern Europe. "The Reconstruction of the Being" is built upon three different cores: Men within society, Men in space and Men as a body and as a mind. The name of the exhibition refers to the process of displaying the artists development and personal deconstruction of a self, and to the posterior reconstruction that happens when spectators are able to interact and live with the sculptures, embodied in the same space, as Jorge Marin's bronzes entwine with the Heydar Aliyev Centers architecture. 53-year-old artist has been working for more than 25 years. After a broad search, he decided to adopt bronze as his own medium of expression, making it a distinctive sign of his art. He has dabbled in various sculptural dimensions, ranging from miniature to monumental, format has exhibited both in Mexico and abroad, which have taken over public spaces.
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Curated by ÖYKÜ ERAS.
Piramid Sanat 10 yasinda! Kurucu: Bedri Baykam.
New Turkish Paperback. 4to. (30 x 21 cm). In Turkish. 351, [1] p., color ills. Piramid Sanat 10 yasinda! Kurucu: Bedri Baykam.
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NAILE AKINCI.
Naile Akinci. Bebek variations, 1961-2007.= Bebek çesitlemeleri, 1961-2007. [Exhibition catalogue]. Text by Hasim Nur Gürel.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 57, [4] p., color ills. Naile Akinci. Bebek variations, 1961-2007.= Bebek çesitlemeleri, 1961-2007. [Exhibition catalogue]. Text by Hasim Nur Gürel. 1500 copies were printed.
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Project: NAZAN ERKMEN.
El/le. Marmara University Faculty of Fine Arts Exhibition of Graduation Projects Academic Year, 2005-2006.= El/le. Marmara Üniversitesi Güzel Sanatlar Fakültesi 2005-2006 Akademik Yili Diploma Projeleri Sergisi. [Exhibition catalogue]. Prep. Inci Deniz Ilgin, Begüm Akkoyunlu, Zeynep Ögel.
Very Good English Paperback. 4to. (29 x 24 cm). In English and Turkish. [xiii], 182, [1] p., color and b/w ills. El/leMarmara University Faculty of Fine Arts Exhibition of Graduation Projects Academic Year, 2005-2006.= El/le. Marmara Üniversitesi Güzel Sanatlar Fakültesi 2005-2006 Akademik Yili Diploma Projeleri Sergisi. [Exhibition catalogue]. Prep. Inci Deniz Ilgin, Begüm Akkoyunlu, Zeynep Ögel. For the artist, there is a particularly productive relationship between the hand and the object. The hand must wield the brush masterfully; its skill must predominate when shaping the mass of clay. The fingers must find the way to elicit the finest sound from the strings of the violin, the keys of the piano. Here the hand searches for thought and feeling; the instant it finds what it has sought - in spite of its appetite - it must rise from the banquet table of sound or colour or form, otherwise, like every other thing that loses its equilibrium, it becomes subject to damage. The hand of the designer takes heed of the relationship between hand and object. Perhaps his relationship with the object develops as it passes through the filter of his relationship with the hand, because in the person-object relationship, holding and using are significantly predominant. But whether we are discussing art or design, if there is no relationship with creative potential in the relationship between matter and product, the hand is nothing more than a useful tool. From this aspect, the hand is the confessor of the heart, the brain and the aggregation that anticipates the creative potential... The collaboration between the Fine Arts Faculty of Marmara University and the Pera Museum was based upon the condition that the ten divisions of this Faculty would be included in the exhibition and that it would be comprised from the works of the graduating class. It was certain that this interdisciplinary exhibition would display an energetic and extremely colourful totality. It was important to present the exhibition within the framework of a shared theme that would unify these varying techniques and disciplines. Ultimately the discussions on this subject led to the choice of the title "el/le", because of the breadth of its meaning. In the "EL/LE" exhibition, painting, sculpture, graphic arts, ceramics, industrial products, interior design, textiles, photography and cinema come together in the opulence generated by the traditional arts of the hand. The "hand" is interpreted by the hands of artists and designers. What aspects of the hand will be beautified through the abundant energy of these creators? This exhibition provided the conclusive answer to that question.
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Coord.: INCI EVINER.
Working space: Yildiz Technical University Faculty of Art and Design 2006-2007 Student Projects Exhibition.= Isleyen mekan: Yildiz Teknik Üniversitesi Sanat ve Tasarim Fakültesi 2006-2007 Ögrenci Projeleri Sergisi. [Exhibition catalogue]. Prep. by Zerrin Iren Boynudelik, Orton Akinci, Zeynep Ögel, Begüm Akkoyunlu.
Very Good English Paperback. 4to. (29 x 24 cm). In English and Turkish. [xiii], 182, [1] p., color and b/w ills. Working space: Yildiz Technical University Faculty of Art and Design 2006-2007 Student Projects Exhibition.= Isleyen mekan: Yildiz Teknik Üniversitesi Sanat ve Tasarim Fakültesi 2006-2007 Ögrenci Projeleri Sergisi. [Exhibition catalogue]. Prep. by Zerrin Iren Boynudelik, Orton Akinci, Zeynep Ögel, Begüm Akkoyunlu. Since its inauguration, Pera Museum has been instrumental in promoting young artists and institutions of art education by opening its exhibition floors during the summer months. Comprised of Yildiz University Faculty of Art and Design student projects for the 2006-2007 academic year, the Working Space exhibition and the accompanying catalogue, took us through a field of experience in which students tried to comprehend life through possibilities in art, and introduced the viewer to young art and the problems of art education.
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Texts by SAMIH RIFAT.
The artist, the Sultan and his portrait: Mehmed the Conqueror according to Gentile Bellini.= Ressam, Sultan ve portresi: Gentile Bellini'ye göre Fatih Sultan Mehmet. [Exhition catalogue]. Edited by Münevver Eminoglu. Consultant: Günsel Renda.
New English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 67, [2] p., color and b/w ills. The Artist, The Sultan and his portrait: Mehmed the Conqueror according to Gentile Bellini.= Ressam, Sultan ve portresi: Gentile Bellini'ye göre Fatih Sultan Mehmet. [Exhition catalogue]. Edited by Münevver Eminoglu. Consultant: Günsel Renda. This exhibition consists of a single painting: the famous portrait that the Ottoman Sultan Mehmed the Conqueror had painted by the Italian artist Gentile Bellini about five hundred years ago and is now in the collection of the National Gallery of London. The painting is a magnificent souvenir of a brief 'golden age' in a reminder that, as early as the Renaissance and under the leadership of a strong and foresighted ruler, Ottoman society, which always looked wetward, hd the chance to grasp universal civilization.
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Curated by MONTSE AGUER TEIXIDOR.
Salvador Dali. A surrealist in Istanbul. 20.09.08. - 20.01.09. [Exhibition booklet].
New English Paperback. Roy. 8vo. (24 x 17 cm). In English. 64 p., color ills. Salvador Dali. A surrealist in Istanbul. 20.09.08. - 20.01.09. [Exhibition booklet]. The exhibition consists of a comprehensive retrospective of the works of Salvador Dalí; in addition to 270 works consisting of oil paintings, drawings and works of graphic art, a variety of manuscripts, photographs and other documents are included. The exhibition is also distinguished by the fact that it is the largest single exhibition ever organised outside Figueres exclusively with material from the Foundation's collection. The exhibition can be viewed between 20 September 2008 and 01 February 2009. Curator of the exhibition Montse Aguer Teixidor, stated that "For the first time we present Salvador Dalí in Istanbul as a unique, innovative, peculiar, brilliant and different artist. We wish to be able to bring the spirit of such museum, so everyone can understand and get a closer look at Dalí's thinking, his obsessions, his iconography, and the dreamy and surrealist world of a universal, provocative and unique artist."
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EDHEM ELDEM.
In search of the Gulbenkians.= Gülbenkyanlarin izinde.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English. 55, [1] p., b/w ills. In search of the Gulbenkians.= Gülbenkyanlarin izinde. The exhibition brochure of the 111-piece collection of Sabanci University Sakip Sabanci Museum hosted by the Calouste Gulbenkian Museum in Lisbon, including 75 handwriting and print books, textiles, weaving and Iznik tiles.
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SELÇUK DEMIREL.
Dans la boule d'Istanbul.
Very Good French Paperback. Roy. 8vo. (25 x 17 cm). In French. 62 p., color ills. Dans la boule d'Istanbul. 1Istanbul couche, en imposent qu'on lui pardonne, lorsqu'elle accouche.".
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BRIONY LLEWELLYN, CHARLES NEWTON.
The people & places of Constantinople. Watercolours by Amadeo Count Preziosi, 1816-1882.
Fine English Paperback. Small 4to. (27 x 20 cm). In English. 54, [2] p., 53 numerous b/w plts., 46 numerous color plates. The people & places of Constantinople. Watercolours by Amadeo Count Preziosi, (1816-1882). It's prepared for the first exhibition on Count Amadeo Preziosi, (1816-1882) in Great Britain. "This is the first exhibition of the work of Amadeo Preziosi to be held in this ccountry. It does not cclaim to be definitive, but it centered on the Museum's substantial holdings and augmented by loans from collections in Great Britain. Preziosi's name is now little known except to specialists, but in the period 1840-70 he was by far the most reknowned artist in Constantinople. He was only retrieved from the critical neglect into which he had fallen in the 20th century by Rodney Searight who began to appreciate his importance while building up his unsurpassed collection of views of the Near and Middle East. Indeed, it is fitting that the exhibition honours not only Preziosi himself but also Rodney Searight, pioneer of the study of this field, whose collection the Museum is raising funds to acquire. It is hoped that the enthusiasm Preziosi's contemporaries felt foe his lively and colourful studies of a now vanished way of life will be appreciated by visitors to the exhibition". (From the Kaufmann's preface).
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JEAN BAPTISTE VAN MOUR, (1671-1737); LEVNÎ, (?-1732).
Vanmour ve Levnî: Lale Devri Istanbuluna iki özgün bakis. Rijksmuseum ve Topkapi Sarayi Müzesi'ndeki yapitlariyla. [Exhibition catalogue]. Topkapi Sarayi Müzesi, 19 Aralik 2003 - 15 Nisan 2004. Prep. by Melis H. Seyhun, Arzu Karamani Pekin.
Fine Turkish Paperback. Small 4to. (26 x 20 cm). In Turkish. 47, [1] p., color ills. Vanmour ve Levnî: Lale Devri Istanbuluna iki özgün bakis. Rijksmuseum ve Topkapi Sarayi Müzesi'ndeki yapitlariyla. [Exhibition catalogue]. Topkapi Sarayi Müzesi, 19 Aralik 2003 - 15 Nisan 2004. Prep. by Melis H. Seyhun, Arzu Karamani Pekin.
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RESAD EKREM KOÇU, (1905-1975).
Forsa Halil. Illustrated by Sabiha Bozcali. [Hand painted extra cover by Ahmet Fevzi Oker].
Very Good Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 99 p., b/w ills. Forsa Halil. Illustrated by Sabiha Bozcali. [Hand painted extra cover by Ahmet Fevzi Oker]. First Edition. Scarce. An extra cover which is painted by Ahmet Fevzi Oker, (1934-), who is living Turkish painter in military origin.
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MÜMTAZ SAGLAM, HALIL AKDENIZ.
Art Collection of the Central Bank of the Republic of Turkey. Vol. 1: A collection of art works showing the development of Torkish painting in the Western sense. Vol. 2: A collection of art works exhibiting modern approaches in post-1950 Turkish art.= Türkiye Cumhuriyeti Merkez Bankasi Sanat Koleksiyonu. Cilt 1: Batili anlamda Türk resim sanatinin gelisme asamalari ve koleksiyondan örnekler. Cilt 2: Türk sanatinda 1950 sonrasi çagdas yaklasimlar ve koleksiyondan örnekler.
New New English Original bdg. Dust wrapper. In publisher's special box. 4to. (301 p.; 290 p.), color ills. Art Collection of the Central Bank of the Republic of Turkey. Vol. 1: A collection of art works showing the development of Torkish painting in the Western sense. Vol. 2: A collection of art works exhibiting modern approaches in post-1950 Turkish art.= Türkiye Cumhuriyeti Merkez Bankasi Sanat Koleksiyonu. Cilt 1: Batili anlamda Türk resim sanatinin gelisme asamalari ve koleksiyondan örnekler. Cilt 2: Türk sanatinda 1950 sonrasi çagdas yaklasimlar ve koleksiyondan örnekler.
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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. Vol. 1. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 158, [2] p., color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. [Exhibition catalogue]. Vol. 1.
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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. Vol. 2. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 186, [2] p., color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. [Exhibition catalogue]. Vol. 2.
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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. 2 volumes set. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 2 volumes set: (158, [2] p.; 186, [2] p.), color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. 2 volumes set. [Exhibition catalogue].
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GALIMA PUGAÇENKOVA.
Orta Asya'nin saheserleri: Resim ve minyatür. Translated by Tahsin Parlak, Babek Kurbanov.
New New Turkish Original bdg. Dust wrapper. 4to. (28 x 21 cm). In Turkish. 72 p., color plates. Orta Asya'nin saheserleri: Resim ve minyatür. Translated by Tahsin Parlak, Babek Kurbanov. Central Asian masterpieces: Painting and miniature.
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FRANZ BABINGER, (1891-1967).
Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz.
Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. 20 p., iv numerous b/w plates (Tafeln). Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz. A study on Gentile Bellini, (1430-1507), was an Italian painter of the school of Venice. He came from Venice's leading family of painters, and at least in the early part of his career was more highly regarded than his younger brother Giovanni Bellini, the reverse of the case today. From 1474 he was the official portrait artist for the Doges of Venice, and as well as his portraits he painted a number of very large subjects with multitudes of figures, especially for the Scuole Grandi of Venice, wealthy confraternities that were very important in Venetian patrician social life. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe.
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Texts by LUCIEN ARKAS, BURCU PELVANOGLU.
Color light vibration: Turkish impressionists.= Couleur lumiere vibration: Impressionnistes Turcs.= Renk isik titresim: Türk izlenimcileri. [Exhibition catalogue]. 12 April - 27 July 2018, Arkas Sanat Galerisi.
New English Paperback. 4to. (28 x 23 cm). In English, French, and Turkish. 237 p., color ills. Color light vibration: Turkish impressionists.= Couleur lumiere vibration: Impressionnistes Turcs.= Renk isik titresim: Türk izlenimcileri. [Exhibition catalogue]. 12 April - 27 July 2018, Arkas Sanat Galerisi. Born in France in the 19th century, Impressionism gradually penetrated Turkish art, and many prominent artists of Turkey produced impressionist artworks, particularly in the second half of the 20th century. The artists of the 1914 Generation, also known as Turkish Impressionists, witnessed the dismemberment of the Ottoman Empire as well as the Second Constitutional Era when urge for Westernization was revitalized. That made them the harbingers of the young Republic of Turkey. Ibrahim Çalli, whose name became the nickname of this generation due to his popularity; Hikmet Onat, Hüseyin Avni Lifij, Feyhaman Duran, Namik Ismail, Mehmet Ruhi Arel and Sami Yetik, quite different from the preceding generation of painters, contributed to the art of painting by diversifying themes and pioneered for the promulgation of this. 'Color, Light, Vibration: The Turkish Impressionists' Exhibition gives the center stage to the artists of the 1914 Generation without losing sight of the artworks of the painters of preceding and following periods. The exhibition thus brings together painters of three generations, showing outstanding examples of Turkish painting during the transition from Empire to Republic. 1000 copies were printed.
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