A study on the surrealist object in contemporary Turkish painting

World War I, which took place at the beginning of the 20th century, left great traumas and deep wounds on people. Despite all these sufferings, innovations and developments have occurred in all areas of life. The rapid progress of urbanisation and industrialisation has also had a significant impact on society. Artists, who were part of the society, created works that signified the sensitivities of the era while continuing their working lives in a new environment. Thus, the Surrealism art movement, which continued its influence for years like many art movements in the 20th century, was born in 1924 in Paris, the art capital of Europe. Surrealism, which started with Tristan Tzara in literature and gained an important place in many fields of art, defends free thought as a continuation of the Dadaist movement against bourgeois culture. The Surrealist movement put forward the principle of human emancipation beyond aesthetics and morality. In the Surrealist movement, whose subject material was not rational but subconscious associations coming from outside the will, the sensible object was replaced by an automated creative process with the elimination of logical-rational thought, including the unconscious and dreams. Therefore, the surrealist object is accidental, surprising, bizarre, causeless as well as detached from its context, mysterious, associative, even metaphysical and symbolic. On the other hand, Surrealist objects also included objects found as a continuation of the Dada movement (Max Ernst, ManRay, Dora Maar, Meret Oppenheim). The effects of the Surrealist movement on Turkish art, on the other hand, were seen in Turkish art after 1950.