Examination of human figures in the works of Malik Aksel in contemporary Turkish painting in terms of Feldman's art criticism model

The human figure was used as an important element in the Turkish painting, while it became the most competent of the artistic forms. The human figure, which emerged in the Ottoman period with miniature art, began to vary with the westernization process. The human figure has been involved in local issues with national art phenomenon after 1930s. It continued until the late 1940s and The works in which the realities of the Anatolian people were discussed were put forward. After 1950s, the artists who turned to abstract tendencies did not really deal with the human figure. Malik Aksel, an important figure artist in Turkish painting, has taught at art schools and presented the most striking examples of the human figure style of Turkish Painting with both his educator and artist identity. In this study, literature survey method and interview method which is one of the data collection techniques were used. As a result of these data collected, human figures in Malik Aksel's works were examined in terms of description, interpretation, analysis and judicial phases in line with Feldman's Art Criticism Model. It is examined how the human figure in the artist's works is handled and how cultural influence is reflected in line with the social structure of the period. Keywords : Contemporary Turkish Art of Painting, Malik Aksel, Human Figure Style, Cultural Phenomenon