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RÖNESANS SANATINDA AT İMGESİ VE TEMSİLİ

Year 2019, , 1 - 18, 12.02.2019
https://doi.org/10.26809/joa.4.001

Abstract

At, sanat tarihinde insan figüründen sonra en çok betimlenen imgelerden biridir. Atlar ilk defa Antik Yunan ve Roma sanatında anatomik doğruluk ve sanatsal bir ifade ile betimlenmiştir. Klasik sanatın orta çağ boyunca kaybolan teknik ve biçimsel bilgileri Rönesans’la birlikte yeniden ortaya çıkmış ve at figürleri tekrar yetkin bir biçimde sanatta yer almıştır. Rönesans sanatında at imgesi kullanım alanı ve biçimine göre farklı anlamlar taşımaktadır. Paolo Uccello’nun San Romano Savaşı’nı konu alan büyük kompozisyonlarında orduların askeri gücünü temsil eden atlar, dini resimlerde beyaz at olarak ortaya çıkıp saflığın ve iyiliğin sembolü olmuşlardır. Equestrian portre ve anıt heykellerin bir türe dönüşmesiyle birlikte, at imgesi siyasi ve askeri gücü temsil ederken sanat eserine, yücelik ve soyluluk etkisi katmıştır. Leonardo da Vinci at figürünü hareket ve anatomik olarak doğruluk unsurlarıyla geliştirmiş ve atların ifadeleri aracılığıyla çalışmalarına duygusal bir boyut katmıştır. 16. yüzyılda Tiziano sanat tarihindeki ilk yağlı boya equestrian porteyi yapmıştır. Geç Rönesans sanatçıları at figürlerini büyük kompozisyonlara hareket ve dinamizim etkisi yaratmak amacıyla sıklıkla kullanılmışlar ve sonrasındaki sanat akımlarında benzer konuların oluşmasına sebep olmuşlardır

References

  • ART INSTITUTE CHICAGO, 2018, Equestrian portrait of the emperor Maximilian I [online], https://www.artic.edu/artworks/12791/equestrian-portrait-of-the-emperor-maximilian-i [Erişim Tarihi: 29.11.2018]
  • ARTABLE, 2018, Equestrian statue of Gattamelata [online], https://www.artble.com/artists/donatello/sculpture/equestrian_statue_of_gattamelata [Erişim Tarihi: 29.11.2018]
  • ARTNET, 2018, Albrecht Dürer [online], http://www.artnet.com/artists/albrecht-dürer/ [Erişim Tarihi: 29.11.2018]
  • BRAMBLETT. Reid, 2014, The Stanza di Elidoro [online], http://www.reidsitaly.com/destinations/lazio/rome/sights/vatican_raphael_eliodoro.html , [Erişim Tarihi: 30.11.2018] ENCYCLOPAEDIA
  • BRITANNICA, 2018, Renaissance art [online], https://www.britannica.com/art/Renaissance-art#ref1057421, [Erişim Tarihi: 30.11.2018]
  • GOMBRICH. E.H, 1992, Sanatın Öyküsü, Remzi Kitapevi, İstanbul ISBN 975-14-0291-3
  • HENNESSY. John Pope, 1950, Paolo Uccello, Phaidon Press Limited, London.
  • KAMINSKI. Marion, 1998, Titian, Könemann Verlagsgesellschaft mbH, Köln, ISBN 3-8290-0257-2
  • KRISCHEL. Roland, 2000, Tintoretto, Könemann Verlagsgesellschaft mbH, Köln, ISBN 3-8290-2876-8
  • MUSEIVATICANI, 2018, Raphael’s Rooms [online] http://www.museivaticani.va/content/museivaticani/en/collezioni/musei/stanze-di-raffaello.html [Erişim Tarihi: 30.11.2018]
  • PRIEVER. Andreas, 2000, Veronese, Könemann Verlagsgesellschaft mbH, Cologne, ISBN 3-8290-2875-X
  • SCRIBNER III. Charles, 1989 Rubens, Harry N. Abrams, New York, ISBN 0-8509-1569-3
  • THOENES. Christof, 2005, Raphael, Taschen GmbH, Cologne, ISBN 3-8228-2203-5
  • TRECCANI, 2018, Leopardi Alessandro de, [online], http://www.treccani.it/enciclopedia/alessandro-de-leopardi/ [Erişim Tarihi: 29.11.2018]
  • WASSERMAN. Jack, 1984, Leonardo da Vinci, Harry N. Abrams, New York, ISBN 0-8109-1285-6
  • VISUAL ARTS CORK, 2018, Equeatrian statue [online], http://www.visual-arts-cork.com/sculpture/equestrian-statue.htm [Erişim Tarihi: 30.11.2018]

HORSE IMAGE AND REPRESENTATION IN THE ART OF RENAISSANCE

Year 2019, , 1 - 18, 12.02.2019
https://doi.org/10.26809/joa.4.001

Abstract

The horse is one of the most depicted images in the history of art after the human figure. Horses were first described in the Greek and Roman art with anatomical accuracy and artistic expression. The technical and formal knowledge of classical art, which was lost during the Middle Ages, reappeared with the Renaissance and the horse figures were competently re-enacted in the art. The image of horse in Renaissance art has different meanings according to its usage area and form. In the great compositions of Paolo Uccello, about the Battle of San Romano, horses representing the military power of the armies emerged as white horses in religious paintings and became the symbol of purity and goodness. With the transformation of equestrian portraits and monumental sculptures into a genre, the image of the horse represented political and military power and added to the work of art the effect of supremacy and nobility. Leonardo da Vinci developed the figure of the horse with movement and anatomical accuracy, and the expressions of horses through mediation provided an emotional dimension. In the 16th century, Titian made the first oil painting equestrian portrait in the history of art. Late Renaissance artists have often used horse figures to create the effect of movement and dynamism on large compositions and have led to similar subjects in subsequent art movements.

References

  • ART INSTITUTE CHICAGO, 2018, Equestrian portrait of the emperor Maximilian I [online], https://www.artic.edu/artworks/12791/equestrian-portrait-of-the-emperor-maximilian-i [Erişim Tarihi: 29.11.2018]
  • ARTABLE, 2018, Equestrian statue of Gattamelata [online], https://www.artble.com/artists/donatello/sculpture/equestrian_statue_of_gattamelata [Erişim Tarihi: 29.11.2018]
  • ARTNET, 2018, Albrecht Dürer [online], http://www.artnet.com/artists/albrecht-dürer/ [Erişim Tarihi: 29.11.2018]
  • BRAMBLETT. Reid, 2014, The Stanza di Elidoro [online], http://www.reidsitaly.com/destinations/lazio/rome/sights/vatican_raphael_eliodoro.html , [Erişim Tarihi: 30.11.2018] ENCYCLOPAEDIA
  • BRITANNICA, 2018, Renaissance art [online], https://www.britannica.com/art/Renaissance-art#ref1057421, [Erişim Tarihi: 30.11.2018]
  • GOMBRICH. E.H, 1992, Sanatın Öyküsü, Remzi Kitapevi, İstanbul ISBN 975-14-0291-3
  • HENNESSY. John Pope, 1950, Paolo Uccello, Phaidon Press Limited, London.
  • KAMINSKI. Marion, 1998, Titian, Könemann Verlagsgesellschaft mbH, Köln, ISBN 3-8290-0257-2
  • KRISCHEL. Roland, 2000, Tintoretto, Könemann Verlagsgesellschaft mbH, Köln, ISBN 3-8290-2876-8
  • MUSEIVATICANI, 2018, Raphael’s Rooms [online] http://www.museivaticani.va/content/museivaticani/en/collezioni/musei/stanze-di-raffaello.html [Erişim Tarihi: 30.11.2018]
  • PRIEVER. Andreas, 2000, Veronese, Könemann Verlagsgesellschaft mbH, Cologne, ISBN 3-8290-2875-X
  • SCRIBNER III. Charles, 1989 Rubens, Harry N. Abrams, New York, ISBN 0-8509-1569-3
  • THOENES. Christof, 2005, Raphael, Taschen GmbH, Cologne, ISBN 3-8228-2203-5
  • TRECCANI, 2018, Leopardi Alessandro de, [online], http://www.treccani.it/enciclopedia/alessandro-de-leopardi/ [Erişim Tarihi: 29.11.2018]
  • WASSERMAN. Jack, 1984, Leonardo da Vinci, Harry N. Abrams, New York, ISBN 0-8109-1285-6
  • VISUAL ARTS CORK, 2018, Equeatrian statue [online], http://www.visual-arts-cork.com/sculpture/equestrian-statue.htm [Erişim Tarihi: 30.11.2018]
There are 16 citations in total.

Details

Primary Language Turkish
Journal Section Research Article
Authors

Erdal Kara 0000-0002-0375-4321

Publication Date February 12, 2019
Published in Issue Year 2019

Cite

APA Kara, E. (2019). RÖNESANS SANATINDA AT İMGESİ VE TEMSİLİ. Journal of Awareness, 4(1), 1-18. https://doi.org/10.26809/joa.4.001