The plastic language of mannerist painting with Feldman's art criticism approach and mannerist traces in hayati Misman's engravings

This study aims to determine the unique plastic language of Mannerist painting with Feldman's approach to art criticism and the similarities of Hayati Misman's engravings with Mannerist painting. In line with this purpose, the understanding of distortion, colour, perspective and composition in the paintings of the Mannerist period, which emerged after the Renaissance, and the reflections and/or traces of this understanding in Hayati Misman's engravings are discussed with Feldman's art criticism approach. The study group of the research consists of the artists of the Mannerist period; 3 works by Doménikos Theotokópoulos (El Greco), 1 work by Jacopo Robusti (Tintoretto), 1 work by Girolamo Francesco Maria Mazzola (Parmigianino), 1 work by Jacopo Carucci (Pontormo), 1 work by Giuseppe Arcimboldo, a total of 9 works, including 1 work by Michelangelo di Lodovico Buonarroti Simoni, 1 work by Tiziano Vecellio (Titian) and 10 works by Hayati Misman, one of today's engraving artists. Qualitative research method was used in the research. Document analysis and interview technique were used as data collection tools. Descriptive analysis method was used to analyse the data obtained. According to the results of the research; it was seen that the artists consciously made deformation-deformation in the Mannerist period paintings. However, Mannerist artists reflected the typical features of Mannerist painting in their works with faded colour tones, complex and open composition. On the other hand, the engraving artist Hayati Misman, in his works, moved away from the understanding of imitation or one-to-one painting and differentiated and deformed the limbs of the figures as in Mannerist paintings. In addition, he painted these figures as if they were flying in an intertwined manner, independent of space, and reflected more than one plot with no perception of depth. Misman stated that he adopted an expressionist approach, created a unique style and did not produce works inspired by the Mannerist period, but some of his engravings bear similarities with Mannerist works.