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SARKIS.
Sarkis. Yellow punctum. Photos by Cemal Emden. Text by Cem Ileri. [EDITION in ENGLISH].
New English Paperback. Large 8vo. (22 x 16 cm). Edition in English. 76 p., ills. Sarkis. Yellow punctum. Photos by Cemal Emden. Text by Cem Ileri. [EDITION in ENGLISH].
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SEMRA GERMANER, ZEYNEP INANKUR.
Constantinople and the orientalists. [HC Edition].
New New English Original bdg. Dust wrapper. 4to. (29 x 24 cm). In English. 331 p., b/w and color ills. Constantinople and the orientalists. Since the publication of our earlier study; 'Orientalism and Turkey', we have been exploring the ramifications of Orientalism in the Ottoman capital of Istanbul itself, or as it was generally known in the nineteenth and early twentieth century: Constantinople. The present study, documented by both visual and written records, including memories, reveals not only the ways in which Istanbul was perceived and portrayed by European artists in the nineteenth century, but it also tries to represent the contemporary city as it truly lived and breathed. In the present work, the reader will discover the identity of Western artists whose works pictorially limned the Ottoman capital, their favorite subjects ¿the harem, the bath, the coffeehouse, and the slave market- and the nature of their interpretation of these subjects.
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ÖMER FEVZI MARDIN [BINBASI], (1878-1953).
Osmanli ordusunda propaganda. Prep. by Mehmet Mert Çam.
New Turkish Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 120 p. Osmanli ordusunda propaganda. Prep. by Mehmet Mert Çam. Propaganda in the Ottoman army.
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H. MUSTAFA ERAVCI.
Özdemiroglu Osman Pasa: Bir Osmanli asker ve bürokrati (Ehl-i örf).
New Turkish Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 231 p. Özdemiroglu Osman Pasa: Bir Osmanli asker ve bürokrati (Ehl-i örf). Second Edition.
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ZEKI VELIDI TOGAN, (1890-1970), EMEL ESIN et alli.
Studies on pre-Islamic Turkish art.= Islamiyetten önceki Türk sanati hakkinda arastirmalar. Türk kültürü el kitabi. Vol. II, Ch. I a. Edited by Emel Esin, Halil Inalcik, Oktay Aslanapa.
Very Good English Paperback. 4to. (28 x 20 cm). In English, French, and Turkish. [6], 530, [2] p., color and b/w plates, 1 folded map. Studies on pre-Islamic Turkish art.= Islamiyetten önceki Türk sanati hakkinda arastirmalar. Türk kültürü el kitabi. Vol. II, Ch. I a. Edited by Emel Esin, Halil Inalcik, Oktay Aslanapa. First and Only Edition.
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CARTER VAUGHN FINDLEY.
Sir James W. Redhouse: The making of a perfect orientalist? = Sir James W. Redhouse: Mükemmel bir dogubilimcinin öyküsü? (American Board Library Occasional Publications No: 1).
New English Paperback. Demy 8vo. (21 x 14 cm). In English and Turkish. 236 p., 1 b/w portrait of Redhouse frontispiece, b/w ills. Sir James W. Redhouse: The making of a perfect orientalist? = Sir James W. Redhouse: Mükemmel bir dogubilimcinin öyküsü? (American Board Library Occasional Publications No: 1). First published in the Journal of the American Oriental Society in 1979, and now revised and updated, Carter Findley's "The Making of a Perfect Orientalist?" is a scrupulously researched biography of the enigmatic nineteenth-century Turkish language scholar James W. Redhouse. Primarily embodied in two major dictionaries-A Lexicon, English and Turkish (1861) and A Turkish and English Lexicon (1890)-Redhouse's work established a crucial base for the further development of English-Turkish lexicography. Unparalleled at the time, his contributions remain vital today, forming the core of a number of bilingual English-Turkish dictionaries which still bear the Redhouse name. A brief overview of the press that published Redhouse's lexicons, as well as the reminiscences of two editors who helped revise them in the twentieth century, round out this provocative study of the life of James Redhouse.
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AARON SCHUSTER, MOIZ ZILBERMAN, ALI ESAT GÖKSEL et alli.
10 years Zilberman Gallery. Edited by Basak Senova.
New English Original cloth bdg. 4to. (31 x 24 cm). In English. 206 p., color ills. 10 years Zilberman Gallery. Edited by Basak Senova. "The year 2018 marks the 10th anniversary of the establishment of zilberman Gallery. To commemorate this special occasion, we have published this book which reflects on Zilberman's ten years of history and contents through the viewpoints of the actors who took part at different stages with varying intensities. Over the past ten years, the diverse interests, works and stories of all the artists being represented and ehibited in the gallery, along with the efforts and involvements of the outstanding curators, collectors, researchers, writers, and the ever-growing team have shapd the identity of the gallery. While the book provides a glimpse into the journey of Zilberman Gallery by revealing its working model, conditions, priorities and trajectories, it also aims to underline the determination to continue supporting and generating new and eceptional artistic and curatorial impulses. Therefore, even as the book contains all the data of the past ten years of the gallery, it is, indeed, all about the strong content, the genuine support, the love and the trust collected over the years.". (From Preface). 2000 copies were printed.
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Edited by KARIN ADAHL.
Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes set. [BOXED].
New English Original bdg. In publisher's special box. Folio. (33 x 29 cm). In English. 2 volumes set: (240 p., 5 unnumbered folded plates on pages; Second volume is a hard-case including two reprint panoramas and one reprint map: First panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu; size 28x336 cm; Second panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu again which is indicating Palace from a different angle; size 28x196 cm; and one map: 'Carta ufwer Orienten Med de Darom kring Grantzande Lander... (Turkey and its around map printed originally in early 18th century), descriptive text surrounding the map, size 65x85 cm. Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes. [BOXED]. Cornelius Loos was one of the young military officers who followed Karl XII to the Ottoman Empire in 1709. From the royal headquarters in what is at present the republic of Moldova, Loos was sent to Istanbul on the King's orders in 1710. From there his journey was pursued by boat over the Mediterranean to Egypt and he returned by land through Jerusalem, Damascus, Aleppo, Konya and Izmir. Loos' mission was to make drawings of the "rarities and monuments" that he would encounter on his journey. Out of the drawings that have survived until today, one is from Palmyra, two from Rhodes and Bodrum and around forty aquarelle tush drawings from Istanbul. It is possible that part of the original drawings were destroyed in the "Skirmish at Bender" in 1713, while other works, due to various reasons, disappeared on their way to Sweden. The conserved drawings are kept at the Swedish National Museum and were exhibited there in 1985. (See catalogue titled "Cornelius Loos. Teckningar från en expedition till Främre Orienten 1719-1711", Stockholm, Nationalmuseum, 1985). The drawings represent a unique record of the urban landscape and the monuments in Istanbul in the early 18th century. The collection includes three great panoramas of the city seen from the Topkapi palace to the upper part of the Golden Horn. To the Loos paintings can be added the great Mecca painting brought to Sweden by Mikael Eneman and kept in the Uppsala University Library, and a small group of oil paintings brought back by Loos' travel companion Conrad Sparre, which are also kept in the art collection of Uppsala University. In addition there are travel accounts and correspondence from these journeys. (From the 'SRII's official site, Karin Adahl's project). "In January 1710 the Swedish king Charles XII, in exile in the Ottoman Empire, sent three of his officers on a journey from the royal camp near Bender in Moldova to travel to Constantinople and from there along the Eastern Mediterranean to Egypt. Their mission was 'to view the there existing rarities and monuments, to draw and to measure'. Cornelius Loos, one of the young officers, returned to his king in 1711 with more than 250 drawings. Only forty-nine, kept under the king's bed, survived a skirmish in the camp in 1713, the so called 'kalabalik' at Bender. King Charles had a vision to publish an encyclopaedic work about the Near East, a dream that was lost in the fire in the camp. The drawings were brought to Sweden when the king returned from the Ottoman Empire in 1714. He died in battle in Norway in 1718. Loos' drawings are unique documents of Constanttinople in the early 18th century, with large scale, detailed panoramas, important prospects of the interior of the Hagia Sophia and views from the Ottoman city. A big map is accompanied by minor drawings from the Black Sea, the Eastern Mediterranean and Egypt, as well as a spectacular set of water-colours of head dresses from the Ottoman world. The Loos collection of drawings is today kept in the National Museum in Stockholm.". Texts by Göran Baarnhielm, Ulla Ehrensvard, Nurhan Atasoy, Günsel Renda, Bo Lundstörm
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ORHAN PAMUK, INCI EVINER.
We, elsewhere: 58th International Art Exhibition la Biennale di Venezia, pavilion of Turkey.= Biz, baska yerde: 58. Uluslararasi Sanat Sergisi La Biennale di Venezia, Türkiye pavyonu. Text by Orhan Pamuk.
New English Paperback. Oblong 4to. (24 x 27 cm). In English and Turkish. 160 p., ills. We elsewhere.= Biz baska yerde. [Biennial catalogue]. We, Elsewhere, a new work by Inci Eviner will be presented in the Pavilion of Turkey at the 58th Venice Biennale, to be held from May 11 through November 24, 2019. Organised by the Istanbul Foundation for Culture and Arts (IKSV) and sponsored by Fiat, the Pavilion of Turkey will be curated by Zeynep Öz and located at Sale d Armi, which is one of the main exhibition venues of the Venice Biennale. We, Elsewhere is created as a site-specific installation for the Pavilion of Turkey at the 58th Venice Biennale and makes use of elements such as reconfigured objects as well as drawings, video, sound, and performance. It is an investigation into the spaces that we create, and are created for us as a result of collective displacement. The exhibition ruminates on how subjects who find themselves in these spaces react and interact with one another and with their memories. Various elements of sound, reconfigured objects and characters crafted by Eviner evoke the sense of a search for the missing, the erased and that which is elsewhere. A certain aggression and abruptness comes out in the characters everyday behaviour informing their identities in transition. The space itself, in which visitors are invited to walk along the ramps, courtyards and edges, displays permeability, allowing views through cuts and cracks along the walls. The paths punctuated by the objects suggest the way in which memory eases conflicts. Together, the characters, the space and the paths tell a story akin to Hannah Arendt s narrative of struggles in We Refugees.
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Edited by GÜNES OKTAY.
Theory in the art and design: Add-Ist Art and Design Dialogues Symposium. February 2018 proceedings book and exhibition catalogue.= Sanat ve tasarimda kuram: Add-Ist Sanat ve Tasarim Diyaloglari Sempozyumu - Subat - 2018 bildiriler kitabi ve sergi katalogu.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish.304 p., ills. Theory in the art and design: Add-Ist Art and Design Dialogues Symposium. February 2018 proceedings book and exhibition catalogue.= Sanat ve tasarimda kuram: Add-Ist Sanat ve Tasarim Diyaloglari Sempozyumu - Subat - 2018 bildiriler kitabi ve sergi katalogu.
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Prep. by BASAK ÇAKA, VASIF KORTUN et alli.
Bir Salt kitabi.
New Turkish Paperback. 4to. (30 x 23 cm). In Turkish. 236, [12] p., color ills. Bir Salt kitabi.
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NAKAE YOSHIO, (1940-).
Kikoetekuruyo (Ehon Kanibaru 4). [With photograph an original drawing of illustrator].
New New Japanese Original bdg. Dust wrapper. Large 8vo. (24 x 24 cm). In Japanese. 32, [1] p., color ills. Kikoetekuruyo (Ehon Kanibaru 4). [With photograph an original drawing of illustrator].
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ATSUSHI HOSOI.
Atsushi Hosoi. SamazanaME102. Jul. 1 - Aug. 3, 1999. IBM-Kawasaki City Gallery. [Exhibition catalogue].
As New Japanese Paperback. Mint. Large roy. 8vo. (25 x 17 cm). In Japanese with bilingual title in English and Japanese. [14] p., color and b/w ills. Atsushi Hosoi. SamazanaME102. Jul. 1 - Aug. 3, 1999. IBM-Kawasaki City Gallery. [Exhibition catalogue].
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USHIO TAKESHI.
Ushio Takeshi. Japanese Painting Exhibition.
Very Good Japanese Original bdg. HC. Oblong large 8vo. (24,5 x 25,5 cm). In Japanese, bilingual descriptive texts in English and Japanese. [62] p., color and b/w ills. Ushio Takeshi. Japanese Painting Exhibition.
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TOSHIHARU MIKI.
Miki. People line: On the earth, in the earth. [Exhibition catalogue].
New English Paperback. 4to. (30 x 21 cm). In Japanese with bilingual descriptive texts in English and Japanese. 31, [1] p., color ills. Miki. People line: On the earth, in the earth. [Exhibition catalogue].
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TOSHIYA MOTAI.
Toshiya Motai. Real view and painting.= Ta-ma unou hi. Text by Kunio Motoe. [Exhibition catalogue]. March 23 - April 22, 2001. Forum Art Shop.
New English Paperback. 4to. (30 x 21 cm). In English and Japanese. 12 p., color ills. Toshiya Motai.= Real view and painting.= Ta-ma unou hi. Text by Kunio Motoe. [Exhibition catalogue]. March 23 - April 22, 2001. Forum Art Shop.
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DEVRIM ERBIL.
Devrim Erbil. 2 Subat - 2 Mart 2001, Axa Oyak Sanat Galerisi. [Exhibition catalogue]. Text by Mehmet Ergüven. Translated by Fred Stark.
Fine English Paperback. 4to. (30 x 21 cm). In English and Turkish. 31, [1] p., color ills. Devrim Erbil. 2 Subat - 2 Mart 2001, Axa Oyak Sanat Galerisi. [Exhibition catalogue]. Text by Mehmet Ergüven. Translated by Fred Stark. 1000 copies were printed. TURKISH PAINTING Modern art Painter.
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Curated by SCULPTURE SOCIETY
Rendez-vous with Sculpture at the 78th Anniversary of the Republic. Joint Sculpture Exhibition.= Cumhuriyet'in 78. Yilinda Heykelle Bulusma. Karma Heykel Sergisi. [Exhibition catalogue]. October 11 - November 17, 2001.
Fine English Paperback. 4to. (30 x 21 cm). In English and Turkish. 44 p., color ills. Rendez-vous with Sculpture at the 78th Anniversary of the Republic. Joint Sculpture Exhibition.= Cumhuriyet'in 78. Yilinda Heykelle Bulusma. Karma Heykel Sergisi. [Exhibition catalogue]. October 11 - November 17, 2001.
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EVELINE SINT NICOLAS, GÜL IREPOGLU, GÜNSEL RENDA DUNCAN, DUNCAN BULL.
An eyewitness of the Tulip Era: Jean-Baptiste Vanmour. Edited by Melis H. Seyhun, Arzu Karamani Pekin.
New New English Original cloth bdg. Dust wrapper. Folio. (32 x 24 cm). Edition in English. 251 p., b/w and color ills. An eyewitness of the Tulip Era: Jean-Baptiste Vanmour. Edited by Melis H. Seyhun, Arzu Karamani Pekin. An eyewitness of one the most interesting periods in Ottoman history is a Western artist: Jean-Baptiste Vanmour. Today, as part of the collection of Rijksmuseum Amsterdam, nearly sixty paintings of the artist depict the Ottoman world in a realistic style: Sultans, grand viziers, prominent imperial officials, daily life scenes from Istanbul, an ambassador´s audience with the Sultan and other significant events such as the Patrona Halil Rebellion. An eyewitness of Tulip Era: Jean Baptiste Vanmour, sheds light to the works of this unique painter and documents one of the most significant periods in Ottoman civilization and culture through the perspectives of four renowned art histroians.
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Edited by MARGARITA LINDGREN.
C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33).
Fine English Paperback. Oblong large 8vo. (16,5 x 24,5 cm). Edition in English. 56, [1] p., color and b/w ills. C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33). Contents: Preface., Thomas Tottie - Introduction.; Karin Adahl - Carl Gustaf Löwenhielm: Life & art.; Mikael Borrman - Catalogue.; Lars Karlsson.
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AHMET YAKUPOGLU, (1920-2016).
Sularin ressami Ahmet Yakupoglu. Sulu boya resimleri. [Exhibition catalogue]. 11-28 Subat 2019. Texts by Sabri Mandiraci. Edited by Mustafa Tayar.
New Turkish Paperback. 4to. (29 x 24 cm). In Turkish. 75, [5] p., color ills. Sularin ressami Ahmet Yakupoglu. Sulu boya resimleri. [Exhibition catalogue]. 11-28 Subat 2019. Texts by Sabri Mandiraci. Edited by Mustafa Tayar.
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DR. BEDI N. SEHSUVAROGLU, (1914-1977).
A well-known painter Ali Sami Boyar.= Ressam Ali Sami Boyar.
Very Good English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish. 78 p., b/w ills., 12 b/w plates. A well-known painter Ali Sami Boyar.= Ressam Ali Sami Boyar. A comprehensive and only study on the life of Turkish / Ottoman contemporary painter Ali Sami Boyar, (1880-1967). First Edition.
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Texts by CANAN AYKUT BINGÖL, GÜLVELI KAYA, M. ZAHIT BÜYÜKISLEYEN.
Generations together: Group Exhibition 3.= Iki kusak bir arada: Grup Sergisi 3. [Exhibition catalogue]. February 6-28, 2017.
New English Paperback. 4to. (30 x 22 cm). In English and Turkish. 210 p., color and b/w ills. Generations together: Group Exhibition 3.= Iki kusak bir arada: Grup Sergisi 3. [Exhibition catalogue]. February 6-28, 2017.
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Edited by MARGARITA LINDGREN.
C. G. Löwenhielm: Istanbul'da sanatçi bir diplomat, (1824-1827). [= C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33)].
Fine English Paperback. Oblong large 8vo. (16,5 x 24,5 cm). Edition in Turkish. 54, [1] p., color and b/w ills. C. G. Löwenhielm: Istanbul'da sanatçi bir diplomat, (1824-1827). [= C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33)]. Contents: Preface., Thomas Tottie - Introduction.; Karin Adahl - Carl Gustaf Löwenhielm: Life & art.; Mikael Borrman - Catalogue.; Lars Karlsson.
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LATIFE MARDIN.
An Ottoman saga: Novel.
New English Paperback. Demy 8vo. (22 x 15 cm). In English. 509 p. An Ottoman Saga is a passionate love story set against the background of the great Ottoman Empire in its years of decline and of Europe in turmoil - war, revolution, the birth pangs of nationalism and democracy, marked by the leaders and personalities who transformed the face of the nineteenth century and paved the way to the world wars of the twentieth century: Sultan Abdülmecid I, Emperor Napoléon III and Empress Eugénie, Cavour, Garibaldi, Emperor Franz-Joseph, Disraeli, the Rothschilds, Florence Nightingale, Kaiser Wilhelm II, Otto von Bismarck, Sultan Abdülhamid II, among others. Anchoring the multicultural city of Istanbul at the heart of her narrative, Lâtife Mardin transports the reader from the Crimean War to the magnificient capitals of Europe and intertwines East and West in a historical tale of romance and intrigue as Cynthia and Jonathan strive to be united against all odds.
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ESEN KESKIN.
The tale of Kamaray. Ills. by Nik.
Fine English Paperback. 12mo. (17 x 12 cm). In English. 29, [3] p., b/w ills. The tale of Kamaray. Ills. by Nik.
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KAYMAKAM REMZI, (Turkish-Ottoman painter), (1864-1937).
Kaymakam Remzi Bey, 1864-1937. M. Murat Uslu Kolleksiyonundan Kaymakam Remzi Resim Sergisi 1990. [Exhibition catalogue]. Text by Kaya Özsezgin. 27 Kasim - 21 Aralik 1990. Akpinar Sanat Evi, Ankara. [LIMITIED NUMBERED EDITION: 0657/1000].
Very Good Turkish Paperback. Large 8vo. (20 x 20 cm). In Turkish. 36 p., color and b/w ills. Printed to 1000 copies. All copies were numbered. This copy is 657: 0657 / 1000. Kaymakam Remzi Bey, 1864-1937. M. Murat Uslu Kolleksiyonundan Kaymakam Remzi Resim Sergisi 1990. [Exhibition catalogue]. Text by Kaya Özsezgin. 27 Kasim - 21 Aralik 1990. Akpinar Sanat Evi, Ankara. [LIMITIED NUMBERED EDITION: 0657/1000].
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EROL AKYAVAS, (1932-1999).
Erol Akyavas. Texts by Jale Erzen, Zeynep Inankur. Prep. by Ilona Akyavas, Megi Basar, Haldun Dostoglu, Melis Terzioglu.
New New English Original bdg. Dust wrapper. Folio. (34 x 24 cm). In English and Turkish. 447 p., fully color ills. Erol Akyavas. Texts by Jale Erzen, Zeynep Inankur. Prep. by Ilona Akyavas, Megi Basar, Haldun Dostoglu, Melis Terzioglu.
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ADIL DOGANÇAY, (1900-1990).
Manzara ve natürmort.
New Turkish Original bdg. 4to. (28 x 24 cm). In Turkish. 151 p., color ills. Manzara ve natürmort. Exhibition catalogue of Turkish painter Adil Dogancay, (1900-1990).
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Edited by BEGÜM AKKOYUNLU.
Prints, drawings and watercolours by the masters of the 20th century. A selection from the Cathedral and Diocesan Museum, Vienna Otto Mauer Collection.= 20. yüzyil ustalarindan baski, desen ve suluboyalar. Viyana Katedral ve Baspiskoposluk Müzesi, Otto Mauer Koleksiyonu'ndan bir seçme. [Exhibition catalogue].
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 113 p., color and b/w ills. Prints, drawings and watercolours by the masters of the 20th century. A selection from the Cathedral and Diocesan Museum, Vienna Otto Mauer Collection.= 20. yüzyil ustalarindan baski, desen ve suluboyalar. Viyana Katedral ve Baspiskoposluk Müzesi, Otto Mauer Koleksiyonu'ndan bir seçme. [Exhibition catalogue]. Monsignore Otto Mauer was a Catholic priest. He was also a passionate, foresighted collector who, apart from his position as a clergyman, was enthusiastic about all domains of contemporary art and regardless of their beliefs or origins, approached all "avant-garde" artists with the same openness. As one of the most outstanding collections of Modern Austrian art, the names of the artists represented within the collection is almost a "who is who" of post-1945 Austrian art. By encompassing a wide spectrum from "classical" modern to postmodern, Mauer tried to create a "reference collection," analogous to an atlas of art history. By World War II, he had already begun collecting with great resolution, the lithographs of the leading representatives of Parisian modern art, as well as the original works of German and Austrian artists. Gallery St Stephan, which he founded in 1954, evolved into the leading avant-garde gallery of Vienna under his management in the 1950s and 60s; it also acquired a considerable and well-deserved fame on the international art scene. Otto Mauer's relationship with art was always defined by his personal and amicable connections with the artists. His collection, which he was able to expand uninterruptedly until 1973, by purchases and artists' gifts, must be perceived not only as an indication of his progressive interest in art, but also as a very subjective interpretation of modern Austrian painting.
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DJELAL ESAD [CELÂL ESAD ARSEVEN], (1875-1971).
Türkçe'den Fransizca'ya sanat kamusu.= Dictionnaire des termes d'art. Français - Turc / Turc - Français.= Sanat kamusu. Fransizcadan Türkçeye ve Türkçeden Fransizcaya. Sanayi-i Nefiseden resim, nakis, naht, mimarî, hat ve âsar-i atikaya aid istilahlari havidir.
New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish and French. 254 p. First Edition in 1926 written in Ottoman Turkish. Türkçe'den Fransizca'ya sanat kamusu.= Dictionnaire des termes d'art. Français - Turc / Turc - Français.= Sanat kamusu. Fransizcadan Türkçeye ve Türkçeden Fransizcaya. Sanayi-i Nefiseden resim, nakis, naht, mimarî, hat ve âsar-i atikaya aid istilahlari havidir. Rare. Özege: 17507. HISTORY OF ART Reference Ottoman culture Architecture Painting Terms Dictionary Lexicon Turkish and Islamic arts.
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TEZCAN SAGLAM.
Eski evler ve sokaklar: Tezcan Saglam Suluboya Resim Sergisi. 18 Subat - 20 Mart 2020. [Exhibition catalogue].
New Turkish Paperback. Small 4to. (26 x 19 cm) In Turkish. 72 p., ills. Eski evler ve sokaklar: Tezcan Saglam Suluboya Resim Sergisi. 18 Subat - 20 Mart 2020. [Exhibition catalogue].
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MEHMET ERGÜVEN.
Titresimlerin büyüsü: Bir Devrim Erbil kitabi. Edited by Eda Sezgin.
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 23 cm). In Turkish. 208 p., color ills. Titresimlerin büyüsü: Bir Devrim Erbil kitabi. Edited by Eda Sezgin. This is a Devrim Erbil Retrospective.
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ALIYE BERGER [BORONAI], (1903-1974).
Aliye Berger [Boronai]: Yasami / sanati / yapitlari. Photos by Ara Güler.
Very Good Very Good Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 108, [1] p., b/w plates, 14 unnumbered folded color plates. Aliye Berger [Boronai]: Yasami / sanati / yapitlari. Photos by Ara Güler.
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SELÇUK DEMIREL.
Dans la boule d'Istanbul.
New 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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BEDRI BAYKAM.
Guerilla carries no umbrella: The writings of a political artist.
New English Paperback. Roy. 8vo. (24 x 16 cm). In English. 453, [18] p., b/w ills. Guerilla carries no umbrella: The writings of a political artist. Dünyaca ünlü ressam ve yazar Bedri Baykam'in 30. kitabi "Guerilla Carries No Umbrella" (Gerillanin Semsiyesi Olmaz) Piramid Yayincilik etiketiyle okuyucuyla bulusuyor. Ingilizce olarak piyasaya sunulan kitap, sanat ve siyaset olmak üzere iki bölümden olusuyor. Guerilla Carries No Umbrella, Baykam'in yayinlanmis makale ve röportajlarinin yani sira, sanatçinin Amerika'da yasadigi dönemden itibaren savundugu Batili olmayan sanatçi haklari üzerine yazdigi manifestolari da içeriyor. Türk modern ve çagdas sanati, Türk sanat ortamindaki sanatçi-küratör gerilimleri, sanatçinin büyük ses getiren "BosÇerçeve"sinin yarattigi polemikler ve yanitlari, Kemik romaninin 11 Eylül saldirilarini öngörmesi, sanatçinin Dünya Sanat Günü için verdigi mücadele ve bunu UNESCO'ya kabul ettirisi ve "Bedri Baykam'in Sanat Tarihi Haritasi", kitabin sanat bölümünde yer alan basliklardan bazilari. Siyaset ile ilgili bölümde ise, Baykam'in Türkiye'de köktendincilige, 2. Cumhuriyetçilige karsi verdigi mücadeleler, CHP Genel Baskan adayligi dönemi, Ergenekon davalarinda tutuklu yazar arkadaslarina verdigi destek, Fransiz ve Amerikan parlamentolarina yazdigi açik mektuplar, Gezi olaylari ile ilgili yazilari, CHP'nin Cumhurbaskanligi adaylari hakkinda getirdigi elestiri ve yorumlari, Erdogan ile Obama'ya yazdigi açik mektuplar gibi konular yer aliyor.
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NILÜFER RÜZGAR.
Leadership traits of the emperors of Ottoman ascension period: Great mantheory.
New English Paperback. Demy 8vo. (22 x 14 cm). In English. [vii], [1], 107 p., b/w ills. According to the "Great Man Theory", leaders are born with a set of specific skills and traits that makes an individual destined for a leadership position. Also known as a trait perspective to leadership, it suggests that certain individuals have special innate or inborn characteristics or qualities that differentiates them from non-leaders. Specifically, these characteristics were believed to include height, weight, appearance, intelligence, disposition and others. Furthermore, charismatic and inspirational leaders instil faith in a better future for the followers in terms of their self-expression, self-evaluation, and self-consistency. The history of Ottomans is complicated and complex in terms of its emperors from the beginning to the end, in addition to severe relations with Europe and Asia. In this sense, especially the ascension period constitutes great importance; because of the fact that the six emperors of the period turned the Ottoman State into an "Empire" with their individual traits and acts. Therefore, it is worth to consider them as "great men" and evaluate them in this frame in order to construe the claim. It is expected that this book sheds light to the future researches in terms of evaluating both the emperors of Ottoman Empire and the other World emperors in terms of great man theory.
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BEDRI RAHMI [EYUBOGLU], (Turkish painter and poet), (1911-1975).
[PAINTER'S PAINTER BIOGRAPHY] Nazmi Ziya.
Very Good Turkish Paperback. Cr. 8vo. (20 x 15 cm). In Turkish. 35 p., 32 b/w plates. Foxing on the cover. Otherwise a good copy. Nazmi Ziya Güran, (1881-1937), was a Turkish Impressionist painter and art teacher. He was born in Istanbul. He did manage to obtain some private tutoring from Hoca Ali Riza then, following his father's death in 1902, he quietly enrolled at the Academy. He studied with the Italian Orientalist painter, Salvatore Valeri and the sculptor Osgan Efendi, but had some difficulty adapting to the school's conservative teaching methods and came into conflict with Osman Hamdi Bey, the Director. A meeting with the French painter Paul Signac, who visited Istanbul while sailing around the Mediterranean, may have influenced his desired style. The conflicts continued and, in 1907, when he submitted his final exam pictures, he found his graduation delayed by a year. Bedri Rahmi Eyuboglu was a Turkish painter and poet. His first one-man show was in Bucarest at the Hasefer Gallery in 1935. The exhibition was organized by his future wife Ernestine. They were married in Istanbul in 1936. Bedri Rahmi was a very prolific artist; he painted frescoes at the "Lido restaurant" in Istanbul (1943), a large panel at the Ankara Opera House (1946). First and Only Edition. OCLC 909450866.
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CANAN TOLON, (1955-).
Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 219, [5] p., color and b/w ills. Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. The exhibition "You Tell Me" organized by Istanbul Modern is a cross section of Canan Tolon s artistic practice which spans from the 1980s to today. "You Tell Me" aims to bring Tolon s unique expressive and technical pursuit into view through her works, which range from drawings to photographs and paintings to installations. While bringing together notable examples of the transformations and developments in Tolon s artistic practice, the exhibition also presents re-creations of some of her works that have already secured their place in the history of art. Canan Tolon s artistic practice centers on nature's continual renewal and on architecture as a cultural enterprise. Tolon designs an intellectual and visual world around the resistance between nature and architecture, and the contradiction and consequences borne out of their encounter. Her experimental works always remind one of the border between life and death, as she makes the viewers question whether these images are real or illusion, photographs or paintings. Incorporating natural materials such as grass seed and water in her paintings, Tolon lets nature come to life by setting metal pieces on her canvases and leaving these outside as a means to let weather transform them. For Tolon, traces of time become an important starting point for the development of her paintings. The architectural sections that show vast, endless and abandoned geographies in her compositions remind one of the struggle of humans against nature and the processes of destruction, construction and reconstruction. In these paintings where every little detail is constructed with paint, Tolon depicts the human processes of transforming and reforming nature, and the chaos, conflict and uncertainty caused by these processes in a distressful atmosphere. Without a doubt, Canan Tolon is one of the most original and creative artists of her generation in terms of the richness of the variety of her areas of research and her intellectual breadth. Tolon s works in this exhibition provide us with the opportunity to rethink nature and environment as well as architecture and culture, which impact both the artist and the rest of humanity today.
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Curated by ÖYKÜ ÖZSOY, ÜMIT ÖZMESTÇI.
Guests: Artists and craftspeople.= Misafirler: Sanatçilar ve zanaatkârlar. Edited by N. Can Kantarci. [Exhibition catalogue].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 133 p., color ills. Guests: Artists and craftspeople.= Misafirler: Sanatçilar ve zanaatkârlar. Edited by N. Can Kantarci. Opening on February 26, the exhibition "Guests: Artists and Craftspeople" is the first exhibition to be organized within the scope of Istanbul Modern's International Artist Residency Program. The project will contribute greatly to the promotion of Turkey abroad and is supported by the Innovative and Creative Istanbul Financial Support Program of the Istanbul Development Agency (ISTKA). In a first for Turkey, the program is arranging for artists from all over the world to collaborate with craftspeople in Istanbul under the auspices of a museum. "Guests: Artists and Craftspeople", the first exhibition of Istanbul Modern's International Artist Residency Program, will be open to the art-loving public from 26 February onwards. The exhibition invites viewers to think about Istanbul's centuries-old craft heritage through contemporary lens. The exhibition's press conference was attended by Oya Eczacibasi, Chair of the Board of Istanbul Modern, Dr. Fatih Piskin, Deputy General Secretary of the Istanbul Development Agency (ISTKA), exhibition curators Öykü Özsoy and Ümit Mesci, and participating artists and craftspeople. With the aim of enhancing the global visibility of Istanbul, the program has invited artists to collaborate with masters in a variety of traditional crafts ranging from wood carving and carpet weaving to metal spinning and quilt making. "Guests: Artists and Craftspeople" features the works of 10 international artists who have been inspired by the crafts of Istanbul. From Baku to London, Mexico City to Copenhagen: Participating artists focus on the themes of craft and tradition in their production processes or work with different materials and techniques. They have also participated in international biennials and exhibitions and their works are featured in the collections of leading museums and art institutions worldwide. The participating artists are: Faig Ahmed (Baku), Rana Begum (London), Benji Boyadgian (Jerusalem), Rodrigo Hernández (Mexico City), Servet Koçyigit (Amsterdam), Outi Pieski (Utsjoki and Numminen), Randi & Katrine (Copenhagen), Wael Shawky (Alexandria and Philadelphia), and Jorinde Voigt (Berlin). In addition to the new works created by reinterpreting traditional production techniques from a contemporary perspective, the exhibition showcases the artists' research and production processes in Istanbul, the resources in the city that inspired them and with which they interacted, as well as information about the craftspeople they worked with. Inviting the viewer to think about Istanbul's long-established craft heritage, the exhibition also includes historical objects that shed light on the cultural richness of Istanbul. These were borrowed from the Harbiye Military Museum and the Istanbul Metropolitan Municipality's Libraries and Museums Directorate. Curated by Öykü Özsoy and Ümit Mesci of Istanbul Modern's Curatorial Staff, the exhibition "Guests: Artists and Craftspeople" will be on view until August 23. (Ist. Modern Museum).
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ALTAN GÜRMAN, (1935-).
Altan Gürman. Prep. by Basak Doga Temür, Süreyyya Evren. Texts by Baris Acar, Selen Ansen, Ahu Antmen, Duygu Demir, Bora Gürdas, Ali Kayaalp, Iz Öztat, Nermin Sabasili. [Catalogue of the artist].
New English Original cloth bdg. 4to. (29 x 24 cm). In English and Turkish. 217, [3] p., color and b/w ills. Altan Gürman. Prep. by Basak Doga Temür, Süreyyya Evren. Texts by Baris Acar, Selen Ansen, Ahu Antmen, Duygu Demir, Bora Gürdas, Ali Kayaalp, Iz Öztat, Nermin Sabasili. Every endeavour to review and write the history of contemporary art in Turkey calls upon the name of a pioneering, founding artist who marks a turning point, a moment of beginning: Altan Gürman (1935-1976). Altan Gürman s oeuvre is brought to viewers for the first time in such an exhaustive capacity through one of the inaugural exhibitions at Arter s new building in Dolapdere. The catalogue accompanying the exhibition, curated by Basak Doga Temür, not only features almost all of Altan Gürman s works included in the Arter Collection, but also presents to readers various documents, drawings, sketches, correspondences, photographs, class notes, slides, and meticulous arrangements from the artist s archives, as well as his theses permeated with a new concept of art that would leave its imprint on the 1960s and 1970s. The book includes essays by Baris Acar, Selen Ansen, Ahu Antmen, Duygu Demir, Bora Gu?rdas, Ali Kayaalp, Iz Öztat and Nermin Saybasili which carefully reread Altan Gürman from an art historical perspective, address the artist s impact and various stages of evolution, and open Gürman s works to new encounters by approaching each one individually. Both the exhibition and the accompanying book pay a collective homage to a mind-opening artist who passed away at a young age
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CANAN TOLON, (1955-).
Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. [LIMITED SIGNED EDITION].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 219, [5] p., color and b/w ills. Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. The exhibition "You Tell Me" organized by Istanbul Modern is a cross section of Canan Tolon s artistic practice which spans from the 1980s to today. "You Tell Me" aims to bring Tolon s unique expressive and technical pursuit into view through her works, which range from drawings to photographs and paintings to installations. While bringing together notable examples of the transformations and developments in Tolon s artistic practice, the exhibition also presents re-creations of some of her works that have already secured their place in the history of art. Canan Tolon s artistic practice centers on nature's continual renewal and on architecture as a cultural enterprise. Tolon designs an intellectual and visual world around the resistance between nature and architecture, and the contradiction and consequences borne out of their encounter. Her experimental works always remind one of the border between life and death, as she makes the viewers question whether these images are real or illusion, photographs or paintings. Incorporating natural materials such as grass seed and water in her paintings, Tolon lets nature come to life by setting metal pieces on her canvases and leaving these outside as a means to let weather transform them. For Tolon, traces of time become an important starting point for the development of her paintings. The architectural sections that show vast, endless and abandoned geographies in her compositions remind one of the struggle of humans against nature and the processes of destruction, construction and reconstruction. In these paintings where every little detail is constructed with paint, Tolon depicts the human processes of transforming and reforming nature, and the chaos, conflict and uncertainty caused by these processes in a distressful atmosphere. Without a doubt, Canan Tolon is one of the most original and creative artists of her generation in terms of the richness of the variety of her areas of research and her intellectual breadth. Tolon s works in this exhibition provide us with the opportunity to rethink nature and environment as well as architecture and culture, which impact both the artist and the rest of humanity today. Signed by Tolon. Limited signed copy.
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ÖZER KABAS, (1938-1998).
Özer Kabas. Retrospektif. [Exhibition catalogue]. 22 Ocak - 2 Mart 2008, Kazim Taskent Sanat Galerisi. Edited by Mine Haydaroglu.
New Turkish Paperback. 4to. (29 x 24 cm). In Turkish. 160 p., color ills. Özer Kabas. Retrospektif. [Exhibition catalogue]. 22 Ocak - 2 Mart 2008, Kazim Taskent Sanat Galerisi. Edited by Mine Haydaroglu.
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HÜSEYIN AVNI LIFIJ, (1886-1927).
Avni Lifij: The modern of his time.= Avni Lifij: Çaginin yenisi. Edited by Erman Ata Uncu. Texts by Ferit Edgü, Zafer Toprak, Ahmet Kamil Gören, Ömer Faruk Serifoglu. [Exhibition catalogue].
New English Paperback. 4to. (27 x 24 cm). In English and Turkish. 207 p., color and b/w ills. Avni Lifij: The modern of his time.= Avni Lifij: Çaginin yenisi. Edited by Erman Ata Uncu. Texts by Ferit Edgü, Zafer Toprak, Ahmet Kamil Gören, Ömer Faruk Serifoglu. [Exhibition catalogue]. Sabanci University Sakip Sabanci Museum (SSM), hosts the exhibition Avni Lifij. The Modern of His Time, providing a comprehensive insight into the versatile artistic production of Hüseyin Avni Lifij (1886-1927) who occupies a unique position in the history of Turkish painting. The Avni Lifij. The Modern of His Time exhibition consist of the artist s works covering a wide range of genres such as self-portraits, pochades, landscapes and compositions with figures as well as his articles on politics and culture, art criticism and photographs. Presenting Avni Lifij s artistic personality in a holistic manner to cover all his aspects for the first time in Turkey, the exhibition aims to shed light on the 1914 Generation, to which the artist belonged, and the pioneering role he played in Turkish art history.
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Edited by BÜLENT ÖZÜKAN.
Ayvazovski'nin Istanbul'u. Texts by Sinan Genim, Sergei Levandowskii, Gül Irepoglu, Tatyana Gayduk.
New Turkish Original bdg. HC. Large 8vo. (23 x 23 cm). Edition in Turkish. 156 p., color and b/w ills. Ayvazovski'nin Istanbul'u. Texts by Sinan Genim, Sergei Levandowskii, Gül Irepoglu, Tatyana Gayduk.
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JALE YILMABASAR, (Turkish painter and ceramicist), (1939-).
Typescript document - letter signed 'Jale Yilmabasar', addressed to Gültekin [Sâmanoglu], (1927-2003).
Very Good Turkish Original typescript document - letter signed by Jale Yilmabasar. (30,5x21,5 cm). In Turkish. 10 lines. A pair of puncher holes on the left side of the paper. Letter sent to Gültekin Sâmanoglu, (1927-2003), who was a Turkish poet and one of the founders of a very important literary magazine titled 'Hisar' in the Turkish literature. 1 p. She wrote to him that she received the Hisar magazines that he sent. She thanks and she apologizes that she couldn't call him. Yilmabasar is a Turkish painter and ceramicist. She was born in 1939 in Samsun, Turkey. Yilmabaser's career as a ceramic artist began while studying in the United States at Albany Union High School under an AFS scholarship. In addition to ceramics and painting, Yilmabaser also studied ballet for a large portion of her life. After high school, Yilmabaser returned to Turkey, where she studied ceramics at the State Academy of Fine Arts and the Istanbul Graduate School of Practical Fine Arts. She also studied painting and graphic design at Munich Academy. She graduated from the Department of Ceramic, School of Practical Fine Arts in the year 1962. After graduation, she held an internship at the Arzberg Schonwald Ceramic Factory in Germany. Yilmabaser also lectured at the University of Miami for one year in 1964. She served as a professor at Marmara University for many years. Yilmabaser held art exhibitions all over the world. Her first personal exhibition, "Jale's Roosters" was held in 1963." After this, she went on to open and attend exhibitions in Paris, Munich, London, and Moscow, among other places. Because of her work, Yilmabaser was called upon to create many ceramic panels for hotels and institutes worldwide. In 1968, she was awarded a gold medal in the International Ceramic Competition in Italy, In 1969 she received a gold medal at the International Handicrafts Fair in Germany. She was also elected as one of the six best ceramic artists in the world in 1972. In 1998, she received the title "State Artist" from the Ministry of Culture of Turkey. One year later, she opened the most inclusive exhibition of her work, "15 years with Pictures," in which she showed fifteen years of her art and ceramic work This exhibition was held in the Istanbul Atatürk Culture Center.
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SANAT TANIMI TOPLULUGU [i.e. THE DEFINITION OF ART GROUP]: (SÜKRÜ AYSAN, SERHAT KIRA, AHMET ÖKTEM with ALPARSLAN BALOGLU AND ISMAIL SARAY).
[CONCEPTUAL ART IN TURKEY] Sanat olarak betik. Texts by Carl Andre, Sükrü Aysan, Robert Barry, Joseph Kosuth, Sol Lewitt, Robert Morris, Bernar Venet.
Very Good Turkish Paperback. 4to. (27,5 x 20 cm). In Turkish. 32, [30] p., color and b/w ills., serigraph and mimeograph printing on paper and fabric, 1 folded plate (Ismail Saray's photo). This very interesting and rare book includes the texts on the first 32 pages. Some texts were translated from English and French languages by Sükrü Aysan, Nazli Damlaci, and Faruk Ulay. Articles in the first 32 pages: Kavramsal sanat [i.e. Conceptual art] by Sükrü Aysan.; Felsefenin sonu sanatin baslangici [i.e. The end of philosophy and the beginning of art] by Joseph Kosuth.; Kavramsal sanat üzerine paragraflar [i.e. Paragraphs on Conceptual Art] by Sol Lewitt.; Kavramsal sanat üzerine tümceler [i.e. Sentences on Conceptual Art] by Sol Lewitt.; Not, by Bernar Venet.; Giris notu, by Joseph Kosuth, and Inekleri düzene sokmak için bir yöntem [i.e. A Method For Sorting Cows] by Robert Morris. They're the first and the earliest translations (and for some only) in Turkey on the Conceptual Art. The Definition of Art Group is an original Conceptual Art approach. Conceptual Art was founded to research the structure and nature of art. Conceptual artists question the structure of art through a progression of work that refers to the concept of art. What is being considered is a work or an idea directed towards the analysis of all the facets of and contradictions within the concept of art. Sol LeWitt said, "this type of art is related to all intellectual processes". Impressionism and Cubism gave the first formulas for questioning art. Later, as a result of Duchamp's systematic operations about art's boundaries, function, language, and its being, art again became an intellectual process. Today, the subject of art itself and its place in the universe has reached a stage where its effort is directed towards understanding existence. The stages of this change make twentieth-century art history. Only an art audience informed about the development of art can comprehend contemporary work. To be able to understand today's artistic endeavors, it is necessary to make a conceptual history of art. Pure Conceptual Art by taking this situation to its extreme point, accepts no other audience or observer than the ones actively participating in the making of the work. Thus, art transforms into a state as serious as a science that needs no audience. When using the term, Conceptual Art or its more characteristic name, Analytical Art, in referring to a specific period in the history of Conceptual Art as an approach to art, one is speaking of art that has completely eliminated the production of objects and all plastic art forms. But if one considers the broader understanding of conceptualism, within our twentieth-century art, in addition to the side that verifies by analyzing itself, there is also a logical and philosophical dimension directed towards the comprehension of its structure. In other words, a strongly intellectual art continues its hegemony today. In our time, art without an idea can not be effective. (Source: Official site of Sanat Tanimi Toplulugu). In 1961, philosopher and artist Henry Flynt coined the term "concept art" in an article bearing the same name which was appeared in a proto-Fluxus publication An Anthology of Chance Operations. Flynt's concept art, he maintained, devolved from his notion of "cognitive nihilism," in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on the syntax of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious art music circles. Therefore, Flynt maintained, to merit the label concept art, work had to be an object-critique of logic or mathematics via linguistic paradox, a quality which is absent from subs... The use of pure Turkish language in this book is pointed to and this book was printed for an exhibition held between 'March 22 - April 5, 1980'. Printed to only 200 copies and all copies were numbered. This is 49 no. (49/200). Extremely r
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HASAN VECIH BEREKETOGLU, (Turkish painter, influenced by impressionistic aesthetics, who took painting lessons from Halil Pasha and at the Academie Julian), (1895-1971).
Two autograph letters and one manuscript autobiography signed 'Vecih Bereketoglu', addressed to 'Sami Bey'.
Very Good Turkish Original two manuscript ALSs and one manuscript autobiography including 30 lines. 1 p.; 2 p.; 2 p. In Ottoman script. Only one letter with date and letterhead of 'Vecih Bereketoglu'. In his first letter dated April 26, [19]44, he talks about the painting and oil painting he is working on. He states that he has met Fazil Bey since 1923. Another paper includes a two-pages autobiography. Second ALS includes 19 lines. Hasan Vecih Bereketoglu was a Turkish painter, influenced by impressionistic aesthetics, who took painting lessons from Halil Pasha and at the Julian Academy in Paris. He is one of the painters of the 1914 Generation. He was the son of Kazasker Bereketzade Cemil Bey. Since his father was a civil servant, he completed his primary education in Egypt. He completed high school in Rhodes. He studied at Istanbul Darülfunun Law Faculty. He took his first lessons in painting from Halil Pasha between 1916 and 1920. He became one of the names that supported the establishment of the Fine Arts Union. He was in Paris between 1922-1923 and continued at the Art Academie Julian. Upon his return to Turkey in 1923 he became the Chairman of Kadikoy Halkevi. When he moved to Ankara in 1943, he became the Presidential office manager. During these years, he produced still life works. He produced such works by adopting the impressionist understanding of his art life in general. It was seen that he was influenced by Halil Pasha, Hikmet Onat, and Nazmi Ziya Güran in his works on Istanbul. He was mostly remembered as an 'open-air painter' with his paintings with the views of Fenerbahçe, Kurbagalidere, and Göksu. In these paintings, he did not see the light element as the element that determines the color and presented it with the reflection it's created in nature.
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BÜLENT ECZACIBASI.
From the road.= Yoldan. [Exhibition catalogue]. Edited by Bülent Erkmen.
New English Original cloth bdg. 4to. (29 x 24 cm). In English and Turkish. 206 p., color and b/w photos. All Photographs in This Book were Taken by Bülent Eczacibasi Between November 2015 and January 2020. "Traveling - It leaves you speechless, then turns you into a storyteller. (IIbn Batuta).; All journeys have a secret destination of which the travel is unaware. (Martin Buber).
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BÜLENT ECZACIBASI.
A rip in the sea: New responsibilities for business.
New English Paperback. Roy. 8vo. (24 x 16 cm). In English. 220 p. Translated by Feyza Howell Edited by Dorothy Ener, Mary Craig Eczacibasi Holding Yönetim Kurulu Baskani Bülent Eczacibasi'nin 2018'de yayimlanan Isim Gücüm Budur Benim adli kitabi Ingilizceye çevrildi. "Is Insaninin Yeni Sorumluluklari" altbasligini tasiyan kitapta Bülent Eczacibasi yönetim, ekonomi, sürdürülebilirlik, toplum ve kültür-sanat alanlarina odaklaniyor. Kendi deneyimlerinden yola çikarak yakin tarihe, bugüne ve gelecege iliskin görüslerini dile getiriyor. Isim Gücüm Budur Benim, is dünyasini merak edenler, is yasamina yeni giren ya da girmeyi düsünen gençler için yazildi. A Rip in the Sea is the English translation of Isim Gücüm Budur Benim, authored by Eczacibasi Holding Chairman Bülent Eczacibasi and first published in Turkish in 2018. Drawing on more than four decades of business experience, Bülent Eczacibasi examines issues related to management, the economy, sustainability, society, and culture and arts and explores the role of businesspeople in contributing to solutions. While focusing primarily on pivotal changes in Turkey, the book asks probing questions about responsibility that business leaders everywhere need to consider. A Rip in the Sea is for people interested in the business world and especially for young people just starting out in business life, or those considering a career in business.
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