Woman image and formal approaches in Turkish painting from the proclamation of the republic to the nowadays

The image of woman has been a subject for different purposes throughout the history of painting as a religious figure, a figure from the palace, or a figure from within daily life. In the history of Turkish painting, a female figure as plastic art begins with Osman Hamdi Bey just before the Republican era. With the establishment of Sanayi-i Nefise Mektebi, education grew stronger and spread to a wider community. After that, with the support of the state, the art of Turkish painting began to enrich with different movements and styles with the painters sent to Europe for art education. İnas (Girl) Sanayi-i Nefise Mektebi was founded in 1914 through the efforts of Mihri Müşfik Hanım, the first female painter of contemporary Turkish painting. İnas Sanayi-i Nefise Mektebi merged with Sanayi-i Nefise Mektebi in 1920s with the rights granted to women in the Republic period and started to receive education with men and women. Apart from being a model in painting, the woman has also gained a place as an individual producing art. Thus, a woman's approach and sensitivity to female image as an artist has been seen. In this research, starting with Osman Hamdi Bey, who is considered the pioneer of figurative painting, it has been established that the image of women in Turkish painting has been rendered by different painters. Osman Hamdi Bey and his period painters approached the figure academically with their education abroad. They care about form. Scenes from daily life, along with the Çallı era, were painted with a colorful palette and textured brush keys. They generally worked in nature and by painting quickly. Güzel Sanatlar Birliği, Müstakil Ressamlar ve Heykeltraşlar Birliği are groups that have come together outside of their common formal attitudes. Güzel Sanatlar Birliği intended to make copies of nature that seemed pleasing to the eye. Müstakil Ressamlar, on the other hand, advocated the economic freedom of the artists and were formed by the coming together of painters in the art movement. D Grubu painters, opposing the Impressionist movement, produced paintings in Cubist constructivist attitude. They approached the painting rationally and cared about the geometric structure. Liman Grubu, on the other hand, emphasized the importance of social content, as opposed to formalist painting by D Grubu. They intended to make the human and the environment of the human again the subject of the painting in a sensitive way. Liman Grubu, has generally considered form when it comes to human subjects. Painters who could not be evaluated in any group were also collected and examined in a subject. Among these painters are those who make abstraction, cubist painters, painters of different styles who prioritize color or lightdark. In current painting art, more diverse styles are seen. There are painters producing in Realist, expressionist, hyperrealist, pop surreal genres. Approaches to the subject have been from within daily life, in an imaginary scene or romantic ways. In these artists, the approach to female imagery is rendered with different plastic elements, without a general attitude. These different periods in Turkish painting and the movements in these periods together with the formal attitudes of the painters were examined with the examples given. Apart from the prevailing art flow of paintings, painters ' approaches to the subject with their personal sentiments also gave their production a variety. When examining the images, it is important to evaluate the content in terms of plastic elements as well as to interpret the content.