TY  - JOUR
TT  - THE PARADOX IN VISUAL ARTS
AU  - Atalay, Mustafa Cevat
AU  - Tüzün, Melihat
PY  - 2017
DA  - December
DO  - 10.20304/humanitas.316502
JF  - HUMANITAS - Uluslararası Sosyal Bilimler Dergisi
JO  - Humanitas
PB  - Tekirdağ Namık Kemal Üniversitesi
WT  - DergiPark
SN  - 2147-088X
SP  - 295
EP  - 314
VL  - 5
IS  - 10
KW  - Sanatçı
KW  - Paradoks
KW  - Yapıt
N2  - Anart work is unique that's why it's single. Art works have hidden aspects That’sthe reason why there are many different ways of analyzing artworks. Even thoughart works are artists' productions, they take their existence from human beingsand from the world they are in. Visual artists, philosophers, poets, inventors,scientists and writers are producing works by feeding on paradoxes during thecreative processes.Whenwe change some of the visible properties of an object, our visual perceptioncan change. When we look at the picture, our eyes send an image to our brainsbut sometimes the brain can misread it. Always fully trusting visual perceptioncan lead to errors during our interpretation of the outside world. Thesesituations can be evaluated as visual paradoxes. Artists use these paradoxicalequations in their themes to create illusion in the audience. When the paradoxis perceived, an explanation is needed. Thepurpose of this article is to analyze the artists who used paradox in theirworks thematically such as Partick Hughes, Maurits Cornelis Esher, IgnatiusWidiapradja, Rene Magritte, Chema Madoz. Images depicting the paradox has auniversal meaning similarity. Seen also throughout this creations due to theuniversal perceptions, despite the cultural differences, although at a basiclevel images of paradox can be perceived and interpreted. There is asimplification in the two dimensional creations including paradox. Furthermorevisual artists generally by restricting the theme with some basic shapes andcolors, they aim to make the audience meet with the message directly and thinkabout it in order to reach the sophisticated way of it. In this respect thevisuals are in contact with the audience in many ways. The article is limitedto ten visuals of Partıck Hughes, Maurits Cornelis Esher, Ignatius Widiapradja,Rene Magritte, Chema Madoz by investigating the pradox notion in terms ofliterature. These chosen visuals will be examined in content, subject andtechnic and interpretations will be made throughout the data.
CR  - Danto, A. C. (2012). Sıradan Olanın Başkalaşımı, Ayrıntı Yayınları, İstanbul.
Hanson, A. (2000). Ed: Jane Clarke, Antonia Contro, Esther Grisham, Cori Wulf, Produced by the Department of 'Museum Education The Art Institute of Chicago.
A. Kalay & F. Göksu, (2003). “Reklam ve Paradoks”, Gazi Üniversitesi-İletişim Fakültesi Dergisi, sayı: 18, 59-71.
Simon. A. (2003). "Love and surrealism: René Magritte and André Breton in 1929. "Word & Image 19. 3: 214-222. 
Şişman, A. (2011). Sanata ve Sanat Kavramlarına Giriş, Literarür yay. İstanbul.
Vural, A. (2008). Fizik Paradoksları, Bilim Teknik 2008, Fizik Paradoksları, Bilim Teknik. P: 3.
Rogers, B. & Gyani, A. (2010). Binocular Disparities, Motion Parallax, And Geometric Perspective İn Patrick Hughes’s ‘Reverspectives’: Theoretical Analysis And Empirical Findings. Perception, 39 (3), 330. 
Bilim Teknik, (2007). Editör, Ağustos, çev. Türkiye, s:15.
Madoz, C. (2006). 2000-2005, Premıo Nacıonal De Fotografía 2000. Mınısterıo de Cultura Catalogue, Mueso Barjola , Asturias, İspanya. s:8
Madoz, C. (2013). Soloexhibition, 19th September – 11th December, The Exhibition Was Curated By Tomás Rodríguez Soto. 5
Madoz, C. (2014). Exhibition open cards, Galería Elvıra González, Galería Elvira González Gloria Borrego c/ General Castaños, 3 28004-Madrid, 1.
Gombrich, E. H. (1992). Sanat ve Yanılsama. Ahmet Cemal (çev), Remzi kitab., İstanbul, 207, 239, 267.
Schier, F. (1983). This Is Not a Pipe, Book Abstract, January, The New York Times, 23.
Collingvvood, G. (2011). Kısaca Sanat Felsefesi, Bilge Su, Ankara, 50.
 Neuerbourg, H. (2005). Magic of Magritte: A Paradox in The Works October 08, Associated Press , Los Angeles Times. 
Hacınebioğlu, İ., L. (2006). Bir Düşünce ve Mantık Problemi Olarak Paradoks, Uludağ Üniversitesi Fen Edebiyat Fakültesi Felsefe Dergisi Kaygı, Yıl 2006, Cilt-Güz, Sayı-7, 106, Bursa.
Doménecha, J. L. & Usó-, Nescolarde- J., S., & Belmonte-Requenaa M. & Gashb H. (2015). Cybernetics and Systems: An International Journal Volume 46, Issue 6-7, Special Issue:  Belief Systems in Science and Engineering, Walking Through Cantor's Paradise and Escher's Garden: Epistemological Reflections on the Mathematical Infinite (II), DOI: 10. 1080/01969722. 2015. 1038474, pages: 438-451.
Helfenstein, J., & D’Alessandro, S, & Umland A, (2013). Magritte the mystery the ordinary, 1926-1938, Published by The Museum of Modern Art, New York, pages:7.
Halper, F. (1999). Construals: Perceptual Occlusıon In The Work Of Rene Magrıtte , publzshers. Prznted in the netherlands, K. Academac, pages: 208.
Foucault, M. (1995). Bu Bir Pipo Değildir. Yapı Kredi, İstanbul.
Lopez, M., R. (2011). “To Be İn Someone's Shoes” Un Acercamiento Al Debate De Los Zapatos De Van Gogh En La Teoría Del Arte Contemporáneo, Bajo La Dirección De La Doctora, Madrid, Septiembre, Unıversıdad Complutense De Madrıd, Facultad De Bellas Artes, pages: 69.
Hikmet, N. & Dikbaş, R. (2011). İmge ve Metin: Yazı ve Resim Nasıl Bir Araya Gelir?, Sayı: 75 - yıl:, bilim ve sanat vakfı, Baskı Kurtiş Matbaacılık, İstanbul.
Lynton, N. (2014). Modern Sanatın Öyküsü, Remzi, İstanbul.
Saravo, O., S, (2011). Chema Madoz, Odalys Galería de Arte, catalogue, Caracas 1 , Venezuela.
Arnheim, R. (2007). Görsel Düşünme, Metis Yay, İstanbul.
Leppert, R. (2009). Sanatta Anlamın Görüntüsü: İmgelerin Toplumsal İşlevi: Ayrıntı Yayınları, İstanbul.
Rothman, R. (2007). Konsthistorisk Tidskrift, Journal of Art History Volume 76, Issue 4, A Mysterious Modernism: René Magritte and Abstraction, 224-239.
Farthing, S. (2013). Sanatın Tüm Öyküsü, Hayalperest Yayınevi, İstanbul.
Altuğ, T. (2007). Kant Estetiği, Payel Yay., İstanbul, 182.
Ingold, T. (2011). Being Alive, Essays on movement, knowledge and description, Y Published İn The Usa & Canada, , Seven Varıatıons On The Letter A, 182-183.
Papathomas, T., V. (2002). Experiments on the role of painted cues in Hughes's reverspectives. Perceptıon-London-, 31(5), 521-530. 
Türkoğlu, Ü., N. (2000). Görüyorum , Gündelik Yaşamda İmgelerin Güç, Der Yay.
Michael, W., & Ehrenstein, H. & Papathomas, T. V.. (2009). "Vergence in reverspective: Percept-driven versus data-driven eye movement control. " Neuroscience letters,  449. 2, 142-146. 
W. Nicholas & P. Hughes, (1999). Fooling the Eyes: Trompe l'oeil And Reverse Perspective. Perception-London-28, Pages: 1115-1120. 
Özel, Z. (2007). Op Sanat Ve Dijital Teknolojinin Kullanımı, Anadolu Unıversıty Journal Of Socıal Scıences cilt/vol. : 7- sayı/ no: 2: 395-418., Eskişehir.
CR  - İnternet Kaynakçası
www. artandartdeadlines. com/2012/09/call-for-entries-12-12-international, 1 Eylül 2015 Tarihinde İnternetten indirilmiştir.
www. ca2m. org/en/publications-2/item/313-sin-titulo-atlas, 19 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. famousphotographers. net/chema-madoz, 17 Temmuz  2015 Tarihinde İnternetten indirilmiştir.
www. millireasuranssanatgalerisi. com/sergiler/chema-madoz, 11 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. moberggallery. com/Ignatius_interview. Shtml, 21 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. patrickhughes. co. uk/reverspective), 14 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. stylecrave. com/2009-01-16/chema-madoz-beyond-talent, 9 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. TheArtStory. org ziyaret, 7 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. widiapradja. com, 4 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. zoominfo. com., 1 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
www. dailypalette. uiowa. edu/?artwork=3070, 6 Temmuz 2015 Tarihinde İnternetten indirilmiştir.
CR  - Görsel kaynakça: 
E. Doğan (2004). Temel Tasarıma Çağdaş Yaklaşım, Mor Ajans Reklam ve Tanıtım, İstanbul.
www.tr.wikipedia.org/wiki.
www.moma.org/collection. 
www.art-collecting.com/galleries_ca_losangeles.htm
UR  - https://doi.org/10.20304/humanitas.316502
L1  - https://dergipark.org.tr/tr/download/article-file/388762
ER  -