Musical image analysis in Turkish and western art

This work is aimed at researching how the musical sensitivity of Western and Turkish artists who have connections with music reflects on their paintings. It is attempted to make musical analysis through the art perception of these artists and the music which exists on the image is evaluated via artists and their work.With the 19th century, art has shown a great progress and it brought radical changes in painting and music with it. We tried to tackle how these two art forms interact historically and how much they get influenced by each other in the first chapter. In the second chapter the reflections from music to paintings are examined by adding the scientific methods in the light of many different developments. The connection between painting and music, and the interest of painters? progress of visual creation grows stronger in 20th century with abstract art. Artists seek to benefit from the powerful effect they sense from music in their paintings. Music which has an abstract form has always shown its powerful impact on art forms. With abstract art, painters find the opportunity to benefit from music in more productive ways. Thus the abstract perception on painting makes it easier to search the music in the image. The painters who are sensitive to music variably position this music in their art perception. The way they convey this abstract phenomenon on the surface of a painting takes shape through their own art perception. The musical perception in Turkish paintings shows a similar progress but it starts from 1950?s onwards. The musical answers to the pictorial problems that the Turkish painters try to find concentrate on the Western music just like Western artists. In spite of that, no utilization from deep-rooted Turkish music can be found. Turkish music, its place in art, the comparison with Western music and the attitudes of painters towards it are accounted in the third chapter.The way the artists incorporate music in their art is tried to be resolved under four main categories in the fourth chapter. The last chapter ?dealing with musical objects? does not exactly correlate with music however it was helpful to add due to the supportive function about musical analysis of the thesis in general. The other three chapters include the studies of visualising music and benefiting from the music?s power of impact. Every artist is discussed under their own category and with their surface of painting or the music sensed deep down. With the concluding chapter, the role of the music which penetrates and which is superficially effective on paintings is clarified.