Publication: Süleyman Seyyid Türk resminde natürmort öncüsü
Abstract
19. yüzyıl Osmanlı ressamlarından olan Süleyman Seyyid Batılılaşmanın sanatta da kendisini gösterdiği bir dönemde yaşamıştır. Fransa'ya gitmeden önce, İstanhbul'da ders veren Fransız M. Gues ve M. Joseph Schranz'dan resim derleri almıştır. 1862 yılındaSultan Abdulaziz döneminde Paris'te Türk öğrenciler için kurulmuş olan Mekteb'i Osmaniye yollanmıştır. Burada da ünlü Fransız ressamları Alexandre Cabanel ve Gustave Boulanger'in atelyelerine gidip resim bilgisini geliştirmiştir. Fransa'da gelişen Empressyonist akimdan da kismen etkilemiştir. Avrupa'da uzun zamandır gelişmekte olan modern resim anlayışının Osmanlı'daki ilk temsilcilerinden biridir. Diğer yandan, Geleneksel Türk Sanatı'nın da Süleyman Seyyid üzerinde önemli etkileri olmuştur. Süleyman Seyyid parlak ve saydam renkler kullanan, renkleri titiz bir itinayla karıştıran, tekniğe,çalışma tarzına önem veren, ilk bakışta sezilmeyen,ancak yapıtın kurgusu için gerekli olan gizli bir geometriyi yeğleyen bir sanatçıdır. Yapıtlarını doğaya içten bir hayranlıkla gerçekleştiren Süleyman Seyyid, ışık ve gölgeye bağlı, çoğu kez soğuk tonların hakim olduğu bir renk anlayışını benimsemiştir. Onun yapıtlarının gücü daha çok önemle üzerinde durduğu geometri, denge ve yalınlık karışımından kaynaklanır. Resimlerinde kullandığı renk düzeni de bu anlayışı güçlendirir niteliktedir. Renkleri gayet ince sürmüş, iyice dağıtmış, renklere büyük şeffaflık ve tazelik kazandırmıştır. Yapıtlarını oluştururken, Paris'te aldığı eğitimin etkisiyle, doğal gözleme büyük önem veren Seyyid, bu nedenle rahatça çalışabileceği natürmort alanına ağırlık vermiş ve eserlerinin büyük bölümünü natürmortlar oluşturmuştur. Bu eğilimde, dış mekanda çalışmayı güçleştiren dönemin koşulları ve Seyyid'in her bir resim için günlerce çalışma alışkanlığı da rol oynamıştır. Perspektif ustası olan Seyyid, bu gücünü peyzajlar yerine ağırlıklı olarak, son derece incelikle hazırladığı natürmort modellerini resmederken göstermiştir. Natürmortlarına perspektif dışında, geometrik denge, ışık-gölge ilişkisi ve hareket unsurunu da mutlaka eklemiştir. Perspektife hakim olmasına rağmen, bazı eserlerinde perspektifte yanılsamalar yaparak göz aldatmasına gittiği de olmuştur.
Süleyman Seyyit is a 19th century Ottoman painter and lived in a period of westernization that began to influence Ottoman arts. Before going to France for further education he has taken courses from the French artists of M. Gues and M. Joseph Schranz who were teaching in the Ottoman Empire. In 1862 he was sent to Mekteb-I Osmani which was set up in France by Sultan Abdülaziz for the Ottoman students. There he visited the workshops of the French painters Alexandre Cabanel and Gustave Boulanger and improved his knowledge in painting. He was also partly influenced by the Impressionist movement that developed in France. Seyyit was among the first representatives in the Ottoman Empire of the modern painting movement that was taking shape in Europe. On the other hand, traditional Turkish Arts has had an important impact on Seyyit's art as well. Süleyman Seyyit is an artist who uses bright and transparent colors, mixes the colors with delicate care and who places utmost importance to technique and work style. He prefers a hidden geometry which cannot be uncovered in the first instance, but which is a must for the structure of his work. Süleyman Seyyit adores the nature while he creates his pieces. He has adopted a color usage perspective where there is light and shade, and most of the time cold tones have the primacy. The strength of his works stem from the mixture of geometry, equilibrium and simplicity. Color arrangement he uses in his pieces is an indication of this style. Colors are slightly and lightly flattered, are well-dispersed and given transparency and vividness in his works. With the help of education he received in Paris Seyyit places paramount importance to natural observation. Hence he shifted his concentration to the area of naturmort. Most of his works are naturmort pieces. The negative impact of the time period he lived in made it difficult for him to work outside. Seyyit also got used to working on each picture for days and days. Seyyit was a master in perspective. In his landscape works one cannot see traces of his perspective clearly. However, the delicacy and detailing he developed in his perspective is clearly seen in the naturmort models he painted. He also added geometric equilibrium, light-shade relations and movement effects in his naturmorts. Although he masters the perspective very well, he has at times resorted to eye illusions by making use of perspective deformations.
Süleyman Seyyit is a 19th century Ottoman painter and lived in a period of westernization that began to influence Ottoman arts. Before going to France for further education he has taken courses from the French artists of M. Gues and M. Joseph Schranz who were teaching in the Ottoman Empire. In 1862 he was sent to Mekteb-I Osmani which was set up in France by Sultan Abdülaziz for the Ottoman students. There he visited the workshops of the French painters Alexandre Cabanel and Gustave Boulanger and improved his knowledge in painting. He was also partly influenced by the Impressionist movement that developed in France. Seyyit was among the first representatives in the Ottoman Empire of the modern painting movement that was taking shape in Europe. On the other hand, traditional Turkish Arts has had an important impact on Seyyit's art as well. Süleyman Seyyit is an artist who uses bright and transparent colors, mixes the colors with delicate care and who places utmost importance to technique and work style. He prefers a hidden geometry which cannot be uncovered in the first instance, but which is a must for the structure of his work. Süleyman Seyyit adores the nature while he creates his pieces. He has adopted a color usage perspective where there is light and shade, and most of the time cold tones have the primacy. The strength of his works stem from the mixture of geometry, equilibrium and simplicity. Color arrangement he uses in his pieces is an indication of this style. Colors are slightly and lightly flattered, are well-dispersed and given transparency and vividness in his works. With the help of education he received in Paris Seyyit places paramount importance to natural observation. Hence he shifted his concentration to the area of naturmort. Most of his works are naturmort pieces. The negative impact of the time period he lived in made it difficult for him to work outside. Seyyit also got used to working on each picture for days and days. Seyyit was a master in perspective. In his landscape works one cannot see traces of his perspective clearly. However, the delicacy and detailing he developed in his perspective is clearly seen in the naturmort models he painted. He also added geometric equilibrium, light-shade relations and movement effects in his naturmorts. Although he masters the perspective very well, he has at times resorted to eye illusions by making use of perspective deformations.