Kuzeyden İzlenimler: Amsterdam ve Fransız Empresyonistlerinin Gözünden Değişen Kent ve İnsan Manzaraları

Year 2021, Volume: 30 Issue: 2, 991 - 1017, 20.12.2021

Tülay Kazancı İlkay Canan Okkalı

https://doi.org/10.29135/std.891114

Abstract

Sanayi Devrimi ile birlikte tüm Avrupa’da olduğu gibi Hollanda’da da ekonomik ve sosyal koşullar değişir. 1870’lerden itibaren Amsterdam hızla büyüyen ve nüfusu da hızla artan bir kent olur. Yeni yaşama, sosyal ve kamusal alanlara duyulan ihtiyaçla açık bir inşaat alanına dönen kentte modern hayatın sosyalleşme, tüketim ve eğlence ihtiyaçlarına yönelik değişimler görülür. Bu arada, kent yaşamının sıkıntısız bir şekilde sürmesi için gerekli olan tüm işleri yerine getiren ve ağır koşullar altında çalışan fabrika işçileri, hizmetçiler, liman işçileri ve çamaşırcılar daha görünür hale gelir. Isaac Israels, George Hendrik Breitner, Willem Witsen, Eduard Karsen, Jan Veth ve Jacobus van Looy gibi Amsterdam Empresyonistleri içinde yer alan sanatçılar, Amsterdam’ın değişen kent görünümünü, Amsterdam’ın sosyal yaşamını, farklı çevrelerde yaşayan insan gruplarını betimler. Her ne kadar fotoğrafın yeni bir teknik olarak kullanılmaya başlaması bazı sanatçılar tarafından şüphe ile karşılanmışsa da, bir kısmı için de fotoğraf imgeleri resimleri için ilham kaynağı olmuştur. Breitner ve Witsen sıradan insanları ya da gündelik hayatın dinamik anlarını fotoğraflayıp resimlerinde kullanmışlardır. Fransız empresyonistlerin dünyasında da durum pek farklı değildir. Fransız empresyonist sanatçılar resimlerinde demiryollarını ve lokomotifleri resmetmiştir. Hızla gelişen bulvar ve sokak trafiği modern kent hayatını ve hızını kentte yaşayanlara dayatır. Édouard Manet, Claude Monet, Gustave Caillebotte, Pierre Auguste Renoir, Berthe Morisot ve Camille Pissarro gibi ressamlar resimlerinde bu tempoyu yansıtırlar. Literatür taraması ve eser incelemesi yöntemleri ile yapılandırılan bu makalede 19. yüzyıl Amsterdam ve Fransız empresyonistlerinin insan ve kent manzaraları ele alınmıştır. Fransız empresyonistleriyle karşılaştırıldığında Amsterdam empresyonistlerinin renk kullanımları ve konulara yaklaşımlarındaki farklar tespit edilmiştir. Bu farklardan bazıları daha koyu renk paleti, ışık ve gölgenin kullanımı ve çalışan sınıfa yapılan vurgu olarak tanımlanabilir.

Keywords

Amsterdam Empresyonizmi, Empresyonizm, George Hendrik Breitner, Isaac Israels, Hollanda resmi, Amsterdam Empresyonizmi, Empresyonizm, George Hendrik Breitner, Isaac Israels, Hollanda resmi

Impressions from the North: The Changing Urban and Human Landscapes according to the Amsterdam and French Impressionists

Abstract

The Industrial Revolution changed the economic and social circumstances as much in the Netherlands as elsewhere in Europe. Since the 1870’s, Amsterdam had become a city that grew rapidly in size and in population. The need for new living, social and public spaces turned the city into an open construction site, and changes concerning the need for socializing, consumption and entertainment were observed. In the meantime, people working under harsh conditions like factory labourers, maid servants, dockworkers, laundresses, in other words people who were keeping the city running, became more visible. At the end of the 19th century, Impressionism spread throughout Europe and it also found followers in the Netherlands. There was a shift in the art environment from the academic to the autonomous and individual in which the ordinary person, the working class and daily life was praised. Amsterdam Impressionists like Isaac Israels, George Hendrik Breitner, Willem Witsen, Eduard Karsen, Jan Veth and Jacobus van Looy depicted the changing cityscape and the social life in Amsterdam. Shop windows that were illuminated nocturnally since electric light was introduced, people lining up in front of shop windows, parks, gardens, workers in constructions sites around the city, horsecars and the rapidly changing life became the subjects of paintings in this period. While the introduction of photography as a new technique was approached with suspicion by some artists, others were influenced by photographic images in their works. It was a new medium that could somehow capture the fleeting moments and the feeling of movement. Some artists like Breitner and Witsen took photos of ordinary people or dynamic scenes of everyday life before painting them on their canvases while others preferred to use their inner world and feelings to depict their everyday city.
It was not that much different in the French world of Impressionism. Paris was also going through drastic changes and artists like Claude Monet, Édouard Manet, Gustave Caillebotte, Pierre Auguste Renoir, Berthe Morisot and Camille Pissarro loved portraying railways and the steam that locomotives produced, besides the changes in the city life. Grand boulevards and the traffic, the strolling and shopping people were the new subjects of their art. French Impressionists depicted the fast pace of city life. Like Israels, Pissarro and Caillebotte enjoyed depicting the city with its residents from above the modern buildings using different and unusual angles. But there were also artists focusing on the other side of the modern Paris, namely the daily life of people working under harsh conditions.
This paper aims to present human and urban landscapes of the Amsterdam Impressionists in comparison to the works of their colleagues in France in the same period. The Amsterdam paintings of Dutch Impressionists are examined and their common characteristics are evaluated. The darker color palette, the usage of clair-obscur, the focus on working classes are some of the points that distinguish Amsterdam Impressionism from its French counterpart.

Keywords

Amsterdam Impressionism, Impressionism, George Hendrik Breitner, Isaac Israels, Dutch Painting, Amsterdam Impressionism, Impressionism, George Hendrik Breitner, Isaac Israels, Dutch Painting

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