Kandinky’nin ‘Sarı-Kırmızı-Mavi’ Başlıklı Tablosunun Reprodüksüyonu ve Yeniden Yorumlanması

Yıl 2024, Sayı: 7, 12 - 19, 27.09.2024

Kemal Yürümezoğlu , Turan Enginoğlu , Ekin Boztaş , Burcu Meral Tezeren

https://doi.org/10.62425/at.1474060

Öz

Bu makale, Wassily Kandinsky'nin 1925 başyapıtı "Sarı-Kırmızı-Mavi"nin boya ana renkleri olan Cyan, Magenta ve Sarı (CMY) kullanılarak yeniden üretilmesi yoluyla sanat ve bilim arasındaki disiplinlerarası potansiyeli incelemektedir. Araştırma, çağdaş renk teorisi aracılığıyla hem sanat yaratımını hem de sanat eğitimini bilgilendirip geliştirecek şekilde, geleneksel sanatsal ifade ile bilimsel metodoloji arasındaki boşluğu kapatmayı amaçlamaktadır. Kandinsky'nin orijinal "Sarı-Kırmızı-Mavi" eserinde Kırmızı, Sarı ve Mavi (RYB) kullanımı; renk karşıtlıkları ve uyumları aracılığıyla ulaşılabilecek canlılık ve duygusal derinliği simgelemektedir. Buna karşın, bu çalışmanın CMY ile gerçekleştirdiği röprodüksiyonu; renk etkileşimleri, algı ve eğitimsel değerler üzerine yeni bakış açıları ortaya çıkarmayı hedeflemektedir. Bu araştırma renk spektrumu ve karşılaştırmalı analiz de dahil olmak üzere, bilimsel renk bilgisini temel alan metodolojik bir yaklaşım kullanarak, RYB'nin CMY ile değiştirilmesi durumunda renk tonu, doygunluk ve parlaklıkta meydana gelen değişiklikleri niceliksel olarak değerlendirmektedir. Reprodüksiyon süreci, bu renk değişikliklerinin izleyicinin algısal ve duygusal deneyimi üzerindeki etkisini değerlendirmek için belgelenmiştir. Araştırmada elde edilen bulguların, Kandinsky'nin tekniklerine ve sanatta renk kullanımının teorik temellerine dair daha derin bir anlayışa katkıda bulunması beklenmektedir. Ek olarak, bulgular sanat ve bilimin dinamik bir şekilde etkileşime girdiği pedagojik yaklaşımları teşvik eden STEAM eğitim çerçevesine entegre edilmiştir.

Anahtar Kelimeler

Disiplinlerarası sanat ve bilim entegrasyonu, Kandinsky reprodüksiyonu, modern renk teorisi, STEAM eğitimi

The Reproduction and Reinterpretation of Kandinsky's 'Yellow-Red-Blue' Painting

Öz

This article examines the interdisciplinary potential between art and science through the reproduction of Wassily Kandinsky's 1925 masterpiece "Yellow-Red-Blue" using the primary colors of paint—Cyan, Magenta, and Yellow (CMY). The research aims to bridge the gap between traditional artistic expression and scientific methodology in a way that informs and enhances both art creation and art education through contemporary color theory. Kandinsky's original "Yellow-Red-Blue" masterpiece uses Red, Yellow, and Blue (RYB) to symbolize the vibrancy and emotional depth achievable through color contrasts and harmonies. In contrast, this study's reproduction using CMY aims to uncover new perspectives on color interactions, perception, and educational values. The research quantitatively evaluates changes in hue, saturation, and brightness when RYB is replaced with CMY, utilizing a methodological approach based on scientific color knowledge, including the color spectrum and comparative analysis. The reproduction process is documented to assess the impact of these color changes on the viewer's perceptual and emotional experience. The findings of the research are expected to contribute to a deeper understanding of Kandinsky's techniques and the theoretical foundations of color use in art. Additionally, the findings are integrated into the STEAM education framework, which promotes pedagogical approaches where art and science dynamically interact.

Anahtar Kelimeler

Interdisciplinary artistic and scientific integration, Kandinsky Reproduction, modern color theory, STEAM education

Etik Beyan

As there were no external participants in our study, we didn’t apply for an ethics committee approval.

Kaynakça

• Babič, V., & Čepič, M. (2009). Complementary colours for a physicist. European Journal of Physics, 30(4), 793. https://doi.org/10.1088/0143-0807/30/4/018
• Baldacchino, J. (2015). Kandinsky’s Yellow, Red, Blue painting. Retrieved from https://www.franceinter.fr/emissions/bav-art-dages/bav-art-dages-16-aout-2015
• Ball, P., & Ruben, J. (2004). Avant-garde artist and theorist: Wassily Kandinsky’s fascination with color experiments. Angewandte Chemie International Edition, 43(37), 4842-4846. https://doi.org/10.1002/anie.200430086
• Birren, F. (1976). Color perception in art: Beyond the eye into the brain. Leonardo, 9, 105-110. https://www.jstor.org/
• stable/1573116
• Blood, P. (2003). Transformative color vision. Journal of Visual Literacy, 23(2), 129-138. https://doi.org/10.1080/23796529.2003.11674597
• Casciato, M., Fox, G., & Rochester, K. (2022). Color. Retrieved June 22, 2022, from https://www.getty.edu/research/exhibitions_events/exhibitions/bauhaus/new_artist/form_color/color/
• Erden, E. O. (2008). Johannes Itten’s Weimar years: The Expressionist period at Bauhaus. Retrieved from https://osmanerden.wordpress.com/2008/05/10/johannes-ittenin-weimar-yillari-bauhausta-disavurumcu- donem/
• Garcia-Lazo, V., Donoso, V., Springinzeisz, K., & Jeldres, R. (2024). The potential of visual arts education: Strengthening cultural identity. International Journal of Art & Design Education. https://doi.org/10.1111/jade.12499
• Gude, O. (2013). New school art styles: The project of art education. Art Education, 66(1), 6-15. https://doi.org/10.1080/00043125.2013.11519203
• Hanning, K. (2020). Tan Zi Xi, Yodogawa Technique, and Cai Lun: Exploring paper, pollution, and environmental advocacy. Art Education, 73(6), 48-58. https://doi.org/10.1080/00043125.2020.1785796
• Itten, J. (1970). The elements of color (F. Birren, Trans.). New York: Van Nostrand Reinhold.
• Katinaitė, D. (2015). Colour theories of Klee, Itten and Kandinsky as a paradox of aesthetic sharing in Bauhaus. Topos, 1, 142-155. Retrieved from http://journals.ehu.lt/index.php/topos/article/view/282
• Kingdom, F. (1997). Simultaneous contrast: The legacies of Hering and Helmholtz. Perception, 26(6), 673-677.
• Koyunkaya, M. Y., Enginoglu, T., Karabey, B., & Yurumezoglu, K. (2019). A colorful STEAM activity. CIRCE Magazine: STEAM Edition, 108.
• Marshall, J. (2006). Substantive art integration = exemplary art education. Art Education, 59(6), 17-24. https://doi.org/10.1080/00043125.2006.11651615
• Matthews, B., Shannon, B., & Roxburgh, M. (2023). Destroy all humans: The dematerialization of the designer in an age of automation and its impact on graphic design—A literature review. International Journal of Art & Design Education. https://doi.org/10.1111/jade.12460
• Meyn, J. P. (2008). Colour mixing based on daylight. European Journal of Physics, 29, 1017-1031. https://doi.org/10.1088/0143-0807/29/5/014
• National Coalition for Core Arts Standards. (2014). National Core Arts Standards: A conceptual framework for arts learning. National Coalition for Core Arts Standards. Retrieved from [www.nationalartsstandards.org] (http://www.nationalartsstandards.org)
• Penketh, C. (2023). Art now: Local issues, national concerns, and international significance. The International Journal of Art & Design Education. https://doi.org/10.1111/jade.12472
• Rolling, J. H. (2016). Reinventing the STEAM engine for art + design education. Art Education, 69(4), 4-7. https://doi.org/10.1080/00043125.2016.1176848
• Rosi, T., Malgieri, M., & Oss, S. (2016). What are we looking at when we say magenta? Quantitative measurements of RGB and CMYK colours with a homemade spectrophotometer. European Journal of Physics, 37(6), 1-14. https://doi.org/10.1088/0143-0807/37/6/065301
• Ruiz, F. R., & Ruiz, M. J. (2015). Color addition and subtraction apps. The Physics Teacher, 53, 423-427. https://doi.org/10.1119/1.4931012
• Saris, B., Doyle, S., & Loveridge, J. (2023). Analysing creative design process: A set of tools to understand activity in its socio-cultural and historic context. International Journal of Art & Design Education, 42(3). https://doi.org/10.1111/jade.12467
• Schwarcz, J. H. (1982). The reproduction in art education. Art Education, 35(4), 10-14. https://www.jstor.org/stable/3192614
• Sweeny, R. (Editor) (2013). Teaching art, teaching artists, teaching art teachers. Art Education, 66(3), 6-7. https://doi.org/10.1080/00043125.2013.11519217