The historical dimension of deformation in painting art (1500-1998)

The concept of deformation in painting encompasses not only physical distortions but also serves as a significant artistic technique that conveys aesthetic, cultural, and social messages. This technique has undergone transformations over the years, influenced by the specific eras in which various artists have worked. However, deformation is not limited to the formal distortions that artists intentionally create; it also manifests in the human body due to congenital, social, cultural, or pathological causes. Accordingly, this study, conducted using a qualitative research method, focuses on how figurative art evolved in relation to deformation across different periods between 1500 and 1998, and how artists employed deformation as an aesthetic tool. The aim of the thesis is to explore how deformation is used in painting and what meanings this usage carries in both artistic and societal contexts. Additionally, the thesis analyzes the application of deformation arising from both real and unintended circumstances, within the realm of painting. The initial sections of the study examine the condition of the body in relation to figurative deformation, from the Renaissance to modern art. During this process, it is observed that artists reshaped figures through deformation techniques, challenging aesthetic boundaries. Following this analysis, deformation and other related concepts are explained in detail. After these clarifications, subsequent sections present the findings of the thesis, showing that deformation is not merely an aesthetic element, but also a powerful medium for conveying social and individual messages. Furthermore, disabilities, biological, and pathological deformations have been addressed from an aesthetic perspective by artists, who used figures to make social critiques. In the final section, the author's own artistic works are analyzed, focusing on the theme of deformation. The study examines the aesthetic, social, and individual meanings of deformation in painting, emphasizing the broad expressive possibilities within figurative art.