1908-1945 yılları arasında bir propaganda aracı olarak Türk resim sanatı

This study examines how artists used art for propaganda between Second Constitutional Monarchy and Second World War in Turkey and the relationship between art and propaganda within the scope of art-power interaction. It focuses on how the art and the artist positioned themselves against the government and how the artists conveyed the new ideology to differents spheres of the society by using art that contains propaganda. Artworks created for propaganda have not always been misused. In return for the support it gives to the artist, the government expects the artists to support the idea of social unity and reflect the government's promise of 'good days' in their works. This study is supported with appropriation of masterpieces of art history produced in different periods by artists in China, USSR, America, Mexico, and Italy for propaganda. The paintings with propaganda content, drawn by the Turkish artists between the Second Constitutional Monarchy and the Second World War, were reproduced through digital interventions such as appropriating "Seize the Day" series. Many technical innovations of the age were also adopted in plastic painting art. Just like many posts on social media platforms, the social media posts, shared with the aim of transforming art into propaganda by using some technical features, universalize the use of propaganda. Being not aware of the fact that they are pushed into an imposing loneliness by their android mobile phones, individuals have an increased social insensitivity. With "seize the day" series, it has become a need to record the flow of life due to fear or insensitivity. It is emphasized that increasingly similar lives have gradually become abstract. In the age of informatics, through individualized propaganda that appeals to desire, intelligence, and ego, people make their own propaganda on social media without even making others feel it.