20th century artist and artwork analysis in portrait painting

This thesis focuses on the examination of the transformation of portraits starting from the 20th century, under the internal effects, such as the psychological state of the artist and external effects, such as the socio-economic background, terror and the spread of drug addiction and diseases like AIDS. Before stepping forward into the analysis, a general overview of the term "portrait" and its value for the plastic arts will be mentioned and a brief historical background will be provided. After this introduction chapter, which creates a frame for the art of portrait, in the first chapter, the reflection of the psychological state of the artists will be examined under the light of Sigmund Freud's concept of artistic neurosis and the defanse mechanisms. A few major examples will be given with related info about the artists and their works. In the second section of this chapter, the effects of the artists' life stories will be focused and exemplified. Certainly, there are many other artists, who can be examples for this chapter, but in this paper, only the ones, that emphasize a specific difference will basically be stressed. ​in the second chapter, the external effects will be taken in the center and the reflections of social transformation, economic conditions, the rise of deadly diseases such as AIDS and drug addiction will be analyzed according to the frame, which was created by the critics and theorists suc as Hal Foster and Adorno. In this chapter the technological developments, the need of sponsorship, the rise of popular culture and culture industry and human's being humiliated by the horror created by fatal diseases and terror will be taken to consideration. ​In the third and last chapter, the works of the researcher will be analyzed according to the paradigms and criterias which were created previously. At this point, the artist-researcher will be expected to be aware of herself in means of the effects of the life story, the artist neurosis and the external effects to her works. It can be said that, this chapter will be a striking example of contemporary art's status-quo in means of showing the requirement of a conscious transformation and awareness.