KADIN ÖZNENİN SOYUTLAMA DİLİ: GEORGIA O’KEEFFE VE FAHRELNİSSA ZEİD’DE MODERNİST İFADE

Abstract

Bu makale, Amerikalı sanatçı Georgia O’Keeffe ile Türk sanatçı Fahrelnissa Zeid’in eserlerinde modernist soyutlamayı kişisel deneyim, bedensel duyumsallık ve alternatif görme biçimleriyle şekillenen kadınsı bir görsel dile dönüştürme biçimlerini incelemektedir. Erkek ve kadın bakışı üzerine feminist tartışmalardan ve modernizmin eril temellerine yönelik eleştirilerden hareketle, her iki sanatçının da soyutlamayı biçimci, evrensel ve rasyonel ideallerin ötesinde yeniden tanımladıkları ileri sürülmektedir. O’Keeffe, modernist soyutlamaları aracılığıyla bedensel algıya ve New Mexico Çölü ile kurduğu duyumsal ilişkiye dayanan içkin bir görsel dil geliştirirken, Zeid renk, duygusal yoğunluk, kültürel bellek ve ruhsal enerjiyi bir araya getiren ve tamamen kendi öznelliği içerisinde aşkın olanı ortaya koymaya çalışan bir ifade dili kurar. Sanatçıların seçili eserlerinin ayrı ayrı ve karşılaştırmalı okumaları yoluyla, makale soyutlamanın her iki sanatçı için de yaşantıdan bir kaçış değil, kadın öznelliğinin kişisel, sezgisel ve tinsel boyutlarını ifade etme biçimi olduğunu göstermektedir. Böylece O’Keeffe ve Zeid, modernizmin ataerkil sınırlarını sorgulayarak yirminci yüzyıl soyut sanatına yeni perspektifler sunmaktadır.

Keywords

• Feminist Modernizm
• Kadın Öznelliği
• Soyut Sanat
• Georgia O’Keeffe
• Fahrelnissa Zeid

Ethical Statement

Bu makalede kullanılan görseller, ilgili telif hakkı sahiplerinden ve görselleri sağlayan kurumlardan alınan izinle yayımlanmış olup, yalnızca ticari olmayan akademik amaçlarla ve düşük çözünürlükte çoğaltılmıştır.

FEMALE SUBJECT’S ABSTRACTION LANGUAGE: MODERNIST EXPRESSION IN GEORGIA O’KEEFFE AND FAHRELNISSA ZEID

Abstract

This article examines how American artist Georgia O’Keeffe and Turkish artist Fahrelnissa Zeid transform modernist abstraction into a feminine visual language shaped by personal experience, embodiment, and alternative modes of perception. Drawing on feminist critiques of the male gaze and the masculine foundations of modernism, it argues that both artists redefine abstraction beyond formalist, universal, and rational ideals. O’Keeffe develops an immanent visual language grounded in bodily perception, sensory engagement with nature, and an intimate relationship with the New Mexico Desert. Zeid, by contrast, articulates a subjective language of transcendence in which colour, emotional intensity, cultural memory, and spiritual energy converge in both large-scale non-figurative compositions and expressionist modes. Through separate analyses of selected works and a comparative reading, the article demonstrates that for both artists, abstraction functions not as an escape from lived experience but as a means of expressing the personal, intuitive, and spiritual dimensions of female subjectivity. Ultimately, O’Keeffe and Zeid challenge the patriarchal limits of modernism and expand the possibilities of abstraction in twentieth-century art.

Keywords

• Feminist Modernism
• Female Subjectivity
• Abstract Art
• Georgia O’Keeffe
• Fahrelnissa Zeid

Ethical Statement

Images used in this article are published with permission obtained from the relevant copyright holders and image-providing institutions, and are reproduced in low resolution solely for non-commercial, academic purposes.

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