Approaches in terms of deforming the human figure in the art of painting

General framework: In the historical process of art, approaches to the human figure in terms of deformation of shape are discussed. First of all, an inquiry was made on the concepts. Subsequently, the subjective and objective conditions that determine the evolutionary process that the human figure had spent in the historical process in terms of "deformation of shape" were discussed. Finally, evaluations were made through artist works. In the art of painting, first of all, the concept of Deformation, Stylization and Idealization are discussed. Because the drawings of human figures applied at the beginning are expressed in a schematic and stylized visual. Therefore, the human figures drawn during these periods do not formally reflect a reality that is suitable for nature. The concepts of Format Deformation, Stylization and Idealization were applied when investigating the causes of this. Subsequently, the subjective and objective conditions that cause the human figure not to be depicted in accordance with its nature were examined. The goal here was to understand the spiritual state of the painter who created it in the objective conditions that feed him while resolving the human figure that had been corrupted. To better understand the objective conditions, the only thing that does not change is the change itself. Everything changes all the time. Civilizations are born and die after a while. And then new civilizations arise. Countries suffer from famine for some periods, and some live in abundance. People sometimes fight, sometimes live in peace. People sometimes deal with epidemics and natural disasters, and parallel to all these, culture, art, philosophy, technology and science are evolving, and religious beliefs changing. All these changes, ups and downs have transformed societies, affecting art production as well. This changing in the artistic field has also changed aesthetic tastes and values. In painters who are members of the social structure, they inevitably take their part in this change and reflect the projection of the objective conditions that shape themselves by surrounding itself. At this point, the historical process of objectivity has been determined and examined from cave wall paintings to primitive art, from there to civilizations, and from the historical chronology where art movements have emerged. These determinations and examinations made within the thesis were evaluated in the light of the concept of distorting shapes through artist works. In the last part of my thesis, evaluations were made on my own works through the concept of "deformation of shape" in the light of all the examinations made in terms of the deterioration of the shape of the human figure in the art of painting. Finally, in this thesis, "human figure in painting art" was first detailed with all historical processes from the moment it was made and evaluated and integrated under the concept of "deformation of shape". Keywords: Art of Painting, Human Figure, Deformation of Shape, Expressionism, Subconscious and Psychological Interaction