1839-1960 the approach of artists of the period to the human figure as an object and subject of the art in the Turkish painting art oriented to the western understanding

In our painting art, depending on the developments in line with westernization, the approaches for the human figure can be grouped under two main headings as pre- and post-Republic. Even if there are some distinctions as a result of different formal and stylistic approaches before and after republic in terms of figure fact, it can be a true approach to question this two periods at which developments for human figure in our painting art with aspects connected to each other and successive aspects, in terms of the integrity of cause and effect relationships. The formal and contextual stage experienced from art to nature, figure reality and emotional world at the period from the Reforms to Republic is Western sourced, it is formed in line with developments in social life. In the Republic period, this point of view for the figure was more developed, and it was effective in appearance of the individual approaches at the artists. In this context, the modernist effects for the human figure in the Turkish painting requires to be seen as development process laying from the Ottoman to the Republic Period. In the "History of the Turkish Painting Art for the Western Understanding", almost traditionalized point of view and methods were observed for examination of the occurrence line for the human figure of our painting art. For this reason, the figurative cases in the Turkish painting were emphasized according to these valid principles, the artists who gather in joint interests were assessed in terms of these interests. Especially in the approaches for the human figure, the presence of distinctive features in the structure of the artist were not noticed, or this kind of feature was played minor role, and the dominant aspects of the art movements or current trends were highlighted. Even if there are valid criteria that justify such an approach in terms of generalizing the art history with the scientific methods, when the subject is the human figure that is reviewed with the art and hand of artists, the presence of subtle emotions of the artist are not ignored. This inevitably leads us to the "expression" problem that is focusing on work of arts, and while human figure is considered, this forces us for the solution of meanings hiding in various approaches. In this context, this work emphasizes the necessity to more consider the disintegrating features in works of art, absolute solution, in the analysis of works and period artists in the "Turkish Painting Art History", formed on modern and original values in sense of context.