He color in neo-expressionist painting as a means of expression of violence and tension

Each artistic embodiment (formation) , besides becoming firmly fixed upon the sub-past artistic embodiments,giving themselves priority, exists with modern merits of his own. In view of this, the process of acknowledging Neo- Expressionism, understanding it and comprehending its versatility takes a new meaning by apprehending the past artistic inheritance which Neo- Expressionism possesses and upon which it becomes firmly fixed, the plastic language of this inheritance and, in this sense, by comprehending the color phenomenon , while, as far as the violence phenomenon is concerned, it takes a new meaning by understanding how the concept of violence has become so metamorphosed and disguised from a physical violence action during the present Modern-Post-Modern period, and by apprehending the profound connection of Neo-Expressionism with this new circumstance. It makes sense also when the spots through which Neo-Expressionism identifies itself are perceptible by conceiving our current process with its other related aspects. In this context, the thesis begins with a part specifying the embodiment - accumulation process of plastic merits within the art of painting in the History of Art, particularly indicating the process of color phenomenon till Neo-Expressionism. The second part of the thesis touches on the transforming aspect of the violence phenomenon within the course of history, and is based on its internalized,disguised structure during the Modern-Post-Modern process in particular. Finally, the thesis studies the artistic and plastic embodiment introduced by Neo-Expressionism during Modern-Post-Modern period upon which NeoExpressionism became firmly fixed. ' Violence ' and ' Color ' have been the leading,basic concepts in this sense.