Deformation and re-forming the nature in the art of painting

Painting is based on form, colour, line and design. The effort of combining natural reality and plastic exposition in the art of painting and converting the reality into a tool have always been the common concern of art. It is observed that the aim to avoid the outer world forms is valid in any period given here under. From the Byzantine art up to modernism, the from disturbing concept sets forth a conscious attitude. From Giotto of Florance until Leonardo and Neo-classic artist Ingres, subject and reality have always been a pretext for painting. In painting, the forms in the nature are de formed and re-formed for the purpose of reaching an ideal form on the basic of geometry. From that point of view, the Renaissance art, the peak point of naturalist understanding, remains far from forming the exact repetition of natural forms. This is further cormirmed by the classic artists search of reality in the plastic meaning rather than offering the reality and their intention to change the natural forms in line with the necessities of painting. The artist always targeted to go beyond the traditional rules of art and to reach the pure, clean and spare expression of the past period samples. For example, Ingres was influenced by Greek vase paintings while Matisse was impressed by Giotto's naive depiction and tried to catch the unique sunjectivity of the past periods. When one seeks a correlation between the periods, it can well be seen that the concept of avoiding to reflect nature exactly is not a case beginning with modernismi on the contrary, the concept of re-forming the nature existed in every period. V