Power and anaphylaxis in painting in 20th century

After the twentieth century, the artist, as the subject, associated his existence power with his artistic creations and productions, and formed the problematic issues of life on this idea. Of course, what art is and who the artist is has been widely discussed and interpreted. However, the fact that one end of these queries is the act of recollection (that is, it is cognitive) has brought many thinkers about this subject to the relationship between art and memory. In this context, the process that started with the trace of human in its most original form and evolved into art can be examined as a memory poll of humanity. With such an approach, it would be a correct approach to see the artist as a historiographer that records life between the historic lines Mute recorded traces of human history can be follow in wake, these records can be felt in a timeless manner. These sensations about human beings have undoubtedly emerged as a result of interaction between subjects. This sensation that goes even beyond the language appears in the artist's activities and works as a real field of liberation. With such a way of thinking, the phenomenon of art should also be questioned between the subject's interaction with art. These interactions have been associated with the concepts of power and anaphylaxis and have been sought at the roofs or roots of the claims and concepts to be put forward in this thesis. As the research subject of this thesis, it was preferred to investigate the similarities and differences between power and anaphylaxis, and the argument put forward through the examples of these two concepts in the art of painting was tried to be proved. In this regard, the traces of these two concepts were sought in the productions of the artists and answers were tried to be found in the history of art.