{"id":4544,"date":"2024-08-09T00:14:19","date_gmt":"2024-08-08T22:14:19","guid":{"rendered":"https:\/\/nudeartworkshops.com\/?p=4544"},"modified":"2026-07-16T11:10:39","modified_gmt":"2026-07-16T09:10:39","slug":"nu-sanat-fotografciliginin-erken-donem-onculeri%cc%87-1800ler-1900ler-kapsamli-bi%cc%87r-bakis","status":"publish","type":"post","link":"https:\/\/nudeartworkshops.com\/tr\/early-pioneers-of-nude-art-photography-1800s-early-1900s-a-comprehensive-look\/","title":{"rendered":"N\u00fc Sanat Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n\u0131n \u0130lk \u00d6nc\u00fcleri (1800'ler-1900'lerin ba\u015f\u0131): Kapsaml\u0131 Bir Bak\u0131\u015f"},"content":{"rendered":"

\u0130lk Poz: \u00c7\u0131plak Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n \u00d6nc\u00fcleri Tarihi (1840\u20131910)<\/h1>\n

On dokuzuncu y\u00fczy\u0131l\u0131n ahlaki ikliminde \u00e7\u0131plakl\u0131k bir paradoks olu\u015fturuyordu. Resim ve heykel, \u00e7\u0131plakl\u0131\u011f\u0131 ideal, mitolojik ve g\u00fcvenli bir mesafeden sunabilirdi. Oysa kamera bunu ba\u015faramazd\u0131. Foto\u011fraf\u00e7\u0131l\u0131k fazla ger\u00e7ek\u00e7i, fazla h\u0131zl\u0131 ve ger\u00e7ek bir odada duran ger\u00e7ek bir insandan \u00e7ekildi\u011fi \u00e7ok barizdi; bu ger\u00e7ek\u00e7ilik, kabul g\u00f6rm\u00fc\u015f bir konuyu skandal niteli\u011finde bir konuya d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. Bu nedenle, \u00e7\u0131plak v\u00fccuda objektifini y\u00f6nelten ilk foto\u011fraf\u00e7\u0131lar, ressamlar\u0131n y\u00fczy\u0131llard\u0131r yapmad\u0131klar\u0131 bir \u015feyi yap\u0131yorlard\u0131: ger\u00e7ek bir risk al\u0131yorlard\u0131. Bu, onlar\u0131n nas\u0131l \u00e7al\u0131\u015ft\u0131klar\u0131n\u0131n, bunun onlara neye mal oldu\u011funun ve bug\u00fcn \u00e7\u0131plak foto\u011fraf \u00e7eken her foto\u011fraf\u00e7\u0131n\u0131n neden h\u00e2l\u00e2 onlar\u0131n ortaya att\u0131\u011f\u0131 sorulara yan\u0131t arad\u0131\u011f\u0131n\u0131n hik\u00e2yesidir.<\/p>\n

Bunu, \u015fu anda aktif olarak \u00e7al\u0131\u015fan bir foto\u011fraf\u00e7\u0131 olarak yaz\u0131yorum; Berlin\u2019de \u00e7\u0131plak resim dersleri veriyor<\/a>, yani a\u015fa\u011f\u0131daki arg\u00fcmanlar benim i\u00e7in kesinle\u015fmi\u015f bir ger\u00e7eklik de\u011fildir. Bunlar\u0131n bir \u00e7e\u015fit versiyonu, d\u00fczenledi\u011fim her oturumda g\u00fcndeme gelir.<\/p>\n\n

Sanat\u00e7\u0131n\u0131n Yard\u0131m\u0131: \u00c7al\u0131\u015fma Ama\u00e7l\u0131 \u00c7\u0131plak Fig\u00fcr (1840\u2019lar\u20131860\u2019lar)<\/h2>\n

Bu n\u00fc foto\u011fraf\u00e7ili\u011fin tari\u0307hi\u0307<\/strong> sanat olarak ba\u015flamad\u0131. Sanata hizmet etmek amac\u0131yla ba\u015flad\u0131. Ressamlar ve heykelt\u0131ra\u015flar anatomik do\u011frulu\u011fa ihtiya\u00e7 duyuyorlard\u0131 ve bu yeni teknik, bir modelin g\u00fcnlerce poz vermesini sa\u011flaman\u0131n maliyetinin \u00e7ok alt\u0131nda bir fiyata, hi\u00e7bir eskizin ula\u015famayaca\u011f\u0131 bir do\u011frulukla bunu sa\u011flayabiliyordu. Bu \u00e7al\u0131\u015fmalar, do\u011fadan yap\u0131lan \u00e7al\u0131\u015fmalar<\/em>, bir mazeretleri oldu\u011fu i\u00e7in ho\u015f g\u00f6r\u00fclm\u00fc\u015flerdi: ba\u015fkalar\u0131n\u0131n \u015f\u00f6vale i\u00e7in var olmu\u015ftu.<\/p>\n

Paris, bu ticareti bile d\u00fczenlemi\u015fti. Devlet ar\u015fivine kay\u0131tl\u0131 bir \u00e7\u0131plak \u00e7al\u0131\u015fma, sanat\u00e7\u0131lara a\u00e7\u0131k\u00e7a sat\u0131labilirdi; ayn\u0131 resim, kay\u0131tl\u0131 de\u011filse ve bir palto cebine katlanm\u0131\u015f halde bulunursa, yarat\u0131c\u0131s\u0131n\u0131 mahkemeye g\u00f6t\u00fcrebilirdi. Sanat ile m\u00fcstehcenlik aras\u0131ndaki s\u0131n\u0131r, ilk on y\u0131ldan itibaren idari bir s\u0131n\u0131rd\u0131. Bu durum hi\u00e7bir zaman tamamen ortadan kalkmad\u0131.<\/p>\n\n

Eug\u00e8ne Durieu (1800\u20131874): Ortak \u00c7al\u0131\u015fma<\/h3>\n

Hukuk e\u011fitimi alm\u0131\u015f olan Durieu, Eug\u00e8ne Delacroix ile do\u011frudan i\u015fbirli\u011fi i\u00e7inde d\u00f6nemin en \u00f6nemli \u00e7al\u0131\u015fmalar\u0131n\u0131 ortaya koydu. Ressam modelleri kendisi pozland\u0131rd\u0131; Durieu kameray\u0131 kulland\u0131; Delacroix ise daha sonra bu bask\u0131lar \u00fczerinden \u00e7al\u0131\u015ft\u0131. A\u015fa\u011f\u0131daki resme bakarsan\u0131z, tek bir karenin i\u00e7inde ger\u00e7ekle\u015fen bu etkile\u015fimi g\u00f6rebilirsiniz. Poz, tam anlam\u0131yla akademik bir poz: arkadan g\u00f6r\u00fcnen ayakta duran fig\u00fcr, belirgin S e\u011frisi, teatral \u0131\u015f\u0131k d\u00fc\u015f\u00fc\u015f\u00fc. G\u00f6r\u00fcnt\u00fc ise tam anlam\u0131yla foto\u011frafik: ger\u00e7ek ten, ger\u00e7ek a\u011f\u0131rl\u0131k, ideale ula\u015fmak i\u00e7in hi\u00e7bir \u015fey yumu\u015fat\u0131lmam\u0131\u015f. Resim bir tanr\u0131\u00e7a istiyordu, kamera ise bir kad\u0131n sundu; i\u015fte bu iki ger\u00e7ek aras\u0131ndaki gerilim, bu t\u00fcr\u00fcn do\u011fu\u015f noktas\u0131d\u0131r.<\/p>\n

\"Eug\u00e8ne

Eug\u00e8ne Durieu, Eug\u00e8ne Delacroix i\u00e7in haz\u0131rlanan eskiz, 1854 civar\u0131<\/p><\/div>\n\n

F\u00e9lix-Jacques Moulin (1802\u20131875): S\u0131n\u0131rlar\u0131 Zorlamak<\/h3>\n

Moulin, ayn\u0131 caddenin di\u011fer taraf\u0131nda \u00e7al\u0131\u015f\u0131yordu. Stereoskopik daguerreotipleri, akademik resmin uzanm\u0131\u015f fig\u00fcrlerden olu\u015fan \u00fcslubunu \u00f6d\u00fcn\u00e7 al\u0131yordu; ancak do\u011frudan bak\u0131\u015f ve \u00e7a\u011fda\u015f yatak odas\u0131 ortam\u0131, bu bahaneyi ge\u00e7ersiz k\u0131l\u0131yordu. 1851\u2019de bir mahkeme, bu \u00e7al\u0131\u015fmalar\u0131n m\u00fcstehcen oldu\u011funa h\u00fckmetti ve onu k\u0131sa bir s\u00fcre hapishaneye g\u00f6nderdi. Daha sonra tam lisans alarak mesle\u011fine geri d\u00f6nen Moulin\u2019in kariyeri, bug\u00fcn h\u00e2l\u00e2 ge\u00e7erlili\u011fini koruyan bir ger\u00e7e\u011fi ortaya koyuyor: Bu t\u00fcr\u00fcn hukuki tarihi, teorisyenler taraf\u0131ndan de\u011fil, s\u0131n\u0131r\u0131n nerede oldu\u011funu o s\u0131n\u0131r\u0131n \u00fczerinde durarak ke\u015ffeden foto\u011fraf\u00e7\u0131lar taraf\u0131ndan yaz\u0131ld\u0131.<\/p>\n

\"F\u00e9lix-Jacques

F\u00e9lix-Jacques Moulin, stereoskopik daguerreotip, 1850\u2019ler<\/p><\/div>\n\n

Ahlaki Sava\u015f Alan\u0131: Sans\u00fcr ve Alegori (1850\u2019ler\u20131880\u2019ler)<\/h2>\n

Bu t\u00fcr\u00fcn yayg\u0131nla\u015fmas\u0131yla birlikte ona kar\u015f\u0131 \u00e7\u0131kanlar da artt\u0131 ve foto\u011fraf\u00e7\u0131lar kendilerini savunmak i\u00e7in \u00e7e\u015fitli y\u00f6ntemler geli\u015ftirdiler. En kal\u0131c\u0131 y\u00f6ntem resim sanat\u0131ndan \u00f6d\u00fcn\u00e7 al\u0131nm\u0131\u015ft\u0131: \u00c7\u0131plak fig\u00fcr\u00fc mitoloji, kuma\u015f drapaj\u0131 ya da ahlaki bir anlat\u0131ya sarmak ve klasik referanslar\u0131n sizin ad\u0131n\u0131za konu\u015fmas\u0131na izin vermek.<\/p>\n\n

Bruno Braquehais (1823\u20131875): Klasik Mazeret<\/h3>\n

Daha sonra Paris Kom\u00fcn\u00fc\u2019n\u00fc belgeleyen sa\u011f\u0131r foto\u011fraf\u00e7\u0131 Braquehais, bu stratejiyi en a\u00e7\u0131k \u015fekilde ortaya koyan \u201cakademi\u201d foto\u011fraflar\u0131 \u00e7ekti. Model, kendisine gerek olmayan bir kuma\u015f par\u00e7as\u0131n\u0131 tutuyor; poz \u00f6l\u00e7\u00fcl\u00fc ve resm\u00ee; arka plan ise st\u00fcdyonun bo\u015flu\u011fu. Her unsur \u015funu ilan ediyor: Bu, bir kad\u0131n\u0131n foto\u011fraf\u0131 de\u011fil, ba\u015fka bir yolla yap\u0131lm\u0131\u015f bir heykeldir. Bu ilan\u0131 kabul etmek zorunda de\u011filsiniz. Ancak saray, genellikle kabul ederdi.<\/p>\n

\"Bruno

Bruno Braquehais, perdeli akademi tablosu<\/p><\/div>\n\n

Oscar Gustave Rejlander (1813\u20131875): B\u00fcy\u00fck Alegori<\/h3>\n

Rejlander, bu mazeret temas\u0131n\u0131 duvar resmi boyutuna ta\u015f\u0131d\u0131. Otuzdan fazla negatiften bas\u0131lan bir kompozit olan \"The Two Ways of Life\" (1857), \u00e7al\u0131\u015fkanl\u0131k ile sefahat aras\u0131ndaki ahlaki bir alegoriyi sahneledi ve sefahat dolu yar\u0131s\u0131n\u0131 \u00e7\u0131plak fig\u00fcrlerle doldurdu. Skandal an\u0131nda patlak verdi; kurtulu\u015f yukar\u0131dan geldi, Krali\u00e7e Victoria Prens Albert i\u00e7in bir bask\u0131 sat\u0131n ald\u0131. Kraliyet ailesinin bu al\u0131m\u0131, hi\u00e7bir manifestonun ba\u015faramad\u0131\u011f\u0131n\u0131 ba\u015fard\u0131: \u00c7\u0131plak fig\u00fcrler i\u00e7eren bir foto\u011fraf\u0131n sanat olabilece\u011fini kamuoyuna ilan etti. Rejlander\u2019in a\u015fa\u011f\u0131daki \u00e7ocuk \u00e7al\u0131\u015fmas\u0131 gibi daha yumu\u015fak eserleri ise, ayn\u0131 Viktorya d\u00f6nemi mekanizmas\u0131n\u0131n ters y\u00f6nde i\u015fledi\u011fini g\u00f6sterir; g\u00fcnah \u00fcretmek i\u00e7in kulland\u0131\u011f\u0131 ayn\u0131 teatral kontrol\u00fc kullanarak masumiyeti \u00fcretir.<\/p>\n

\"Oscar

Oscar Gustave Rejlander, \u00e7ocuk \u00fczerine bir \u00e7al\u0131\u015fma<\/p><\/div>\n\n

\n

\u00c7\u0131plak Sanat At\u00f6lyeleri \u00b7 Berlin ve \u0130stanbul<\/p>\n

\u00d6nc\u00fclerin sorunu h\u00e2l\u00e2 g\u00fcncel: bedeni bir provokasyon olarak de\u011fil, bir fikir olarak nas\u0131l foto\u011fraflayabiliriz? At\u00f6lye serimizin her bir b\u00f6l\u00fcm\u00fc tek bir kavram etraf\u0131nda \u015fekilleniyor; erotik unsur ise tema, bi\u00e7im ve i\u015fbirli\u011finin gerisinde, kas\u0131tl\u0131 olarak \u00fc\u00e7\u00fcnc\u00fc ya da d\u00f6rd\u00fcnc\u00fc s\u0131raya itiliyor.<\/p>\n

Yakla\u015fan at\u00f6lyelere g\u00f6z at\u0131n<\/a>\u00a0\u00a0\u00a0ya da yeni tarihlere ilk eri\u015fim hakk\u0131 kazan\u0131n \u2192<\/a><\/p>\n<\/div>\n\n

Paralel Yollar: Analist ve Hayalperest<\/h2>\n

1880\u2019lere gelindi\u011finde bu t\u00fcr, bir daha asla bir araya gelmeyen iki farkl\u0131 e\u011filime ayr\u0131lm\u0131\u015ft\u0131: Biri bedeni bir kan\u0131t olarak ele al\u0131rken, di\u011feri onu bir ka\u00e7\u0131\u015f yolu olarak g\u00f6r\u00fcyordu.<\/p>\n\n

Thomas Eakins (1844\u20131916): Analitik Bak\u0131\u015f<\/h3>\n

Eakins, \u00e7\u0131plak fig\u00fcr\u00fc bir anatomistin otopsi yapt\u0131\u011f\u0131 gibi foto\u011fraflad\u0131: anlamak i\u00e7in. Eadweard Muybridge\u2019in Pennsylvania \u00dcniversitesi\u2019nde \"Animal Locomotion\" adl\u0131 serisini haz\u0131rlad\u0131\u011f\u0131 y\u0131llarda, Eakins\u2019in Philadelphia\u2019da \u00e7ekti\u011fi hareket dizileri, sineman\u0131n \u00f6nc\u00fcleridir ve \u00e7\u0131plak bedeni, nokta, me\u015fru bir ara\u015ft\u0131rma konusu olarak g\u00f6ren bir zihnin belgeleridir. Amerika ise buna kar\u015f\u0131 \u00e7\u0131kt\u0131. 1873 tarihli Comstock Yasas\u0131, \"m\u00fcstehcen\" materyallerin postayla g\u00f6nderilmesini federal bir su\u00e7 haline getirmi\u015f ve \u00e7\u0131plakl\u0131\u011f\u0131 \u00f6zel \u00e7evrelerin i\u00e7ine itmi\u015fti; 1886\u2019da ise Eakins, karma bir s\u0131n\u0131f\u0131n \u00f6n\u00fcnde bir erkek modelin pe\u015ftamal\u0131n\u0131 \u00e7\u0131kard\u0131\u011f\u0131 i\u00e7in Pennsylvania Akademisi\u2019nden at\u0131lmak zorunda kald\u0131. Foto\u011fraflar onun \u00f6l\u00fcm\u00fcnden sonra da hayatta kald\u0131; bunlar\u0131n savundu\u011fu \u201cd\u00fcr\u00fcst\u00e7e bakman\u0131n su\u00e7 olmad\u0131\u011f\u0131\u201d g\u00f6r\u00fc\u015f\u00fcn\u00fcn kabul g\u00f6rmesi ise bir y\u00fczy\u0131l daha s\u00fcrd\u00fc.<\/p>\n

\"Thomas

Thomas Eakins, Hareket \u00c7al\u0131\u015fmas\u0131, 1880\u2019ler<\/p><\/div>\n\n

Wilhelm von Gloeden (1856\u20131931): Arkadya R\u00fcyas\u0131<\/h3>\n

Taormina\u2019da von Gloeden tam tersi bir yap\u0131 kurdu: Yerel Sicilyal\u0131 modeller, amforalar ve defne ta\u00e7lar\u0131yla sahnelenen, ger\u00e7ek Akdeniz \u0131\u015f\u0131\u011f\u0131yla ayd\u0131nlat\u0131lan kurgusal bir antik d\u00fcnya. Eserin homoerotik y\u00fck\u00fc, onu baz\u0131 \u00e7evrelerde yasaklanm\u0131\u015f, di\u011ferlerinde ise koleksiyon de\u011feri ta\u015f\u0131yan bir eser haline getirdi; bazen bu \u00e7evreler birbiriyle ayn\u0131yd\u0131. Tarihsel a\u00e7\u0131dan \u00f6nemli olan y\u00f6ntemdir. Von Gloeden, foto\u011fraf\u0131n bir d\u00fcnyay\u0131 kaydetmekten ziyade in\u015fa edebilece\u011fini ve \u00e7\u0131plakl\u0131\u011f\u0131n sadece anatomiyi de\u011fil, \u00f6zlemi de ta\u015f\u0131yabilece\u011fini kan\u0131tlad\u0131. O g\u00fcnden bu yana \u00e7ekilen her sahnelenmi\u015f, sanat y\u00f6netmenli\u011fi yap\u0131lm\u0131\u015f \u00e7\u0131plak foto\u011fraf, kabul edilse de edilmesede, ona teknik bir bor\u00e7ludur.<\/p>\n

\"Wilhelm

Wilhelm von Gloeden, Taormina, 1900 civar\u0131<\/p><\/div>\n\n

Estetik D\u00f6n\u00fc\u015f: Resimselcilik ve Y\u00fcksek Sanat Olarak \u00c7\u0131plak (1880-1910)<\/h2>\n

Y\u00fczy\u0131l, foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n g\u00fczel sanatlar aras\u0131nda yer almas\u0131n\u0131 sa\u011flamak amac\u0131yla y\u00fcr\u00fct\u00fclen koordineli bir kampanya ile sona erdi ve \u00e7\u0131plak fig\u00fcr, bu alandaki en \u00f6nemli test alanlar\u0131ndan biri haline geldi. Pikt\u00f6ryalistler, foto\u011fraflar\u0131n\u0131 resme yakla\u015ft\u0131rmak i\u00e7in bulan\u0131kla\u015ft\u0131rma, kaz\u0131ma ve bask\u0131 tekniklerini kulland\u0131lar; bir foto\u011fraf\u0131n \u00fczerinde \u00f6zenle \u00e7al\u0131\u015f\u0131lm\u0131\u015f gibi g\u00f6r\u00fcnmesi halinde, ama\u00e7land\u0131\u011f\u0131 \u015fekilde yorumlanaca\u011f\u0131na inan\u0131yorlard\u0131; zira bir \u00e7al\u0131\u015fmay\u0131 bir ifade bi\u00e7iminden ay\u0131ran \u015fey, i\u015fte bu niyettir.<\/p>\n\n

Julia Margaret Cameron (1815\u20131879): Anlaml\u0131 Arka Plan<\/h3>\n

Cameron \u00e7ok az \u00e7\u0131plak foto\u011fraf \u00e7ekti, ancak bu t\u00fcrden bahsederken h\u00e2l\u00e2 ondan s\u00f6z etmeden ge\u00e7ilemez. Yumu\u015fak odakl\u0131 portreleri ve Pre-Raphaelite alegorileri, \u00e7a\u011fda\u015flar\u0131n g\u00fcr\u00fclt\u00fcl\u00fc alaylar\u0131na ra\u011fmen, bir foto\u011fraf\u0131n netlikten ziyade ruh halini, ger\u00e7eklerden ziyade duyguyu \u00f6n plana \u00e7\u0131karabilece\u011fini kan\u0131tlad\u0131. Sanatsal \u00e7\u0131plak foto\u011fraf\u0131n dayand\u0131\u011f\u0131 temel, i\u015fte bu tek izindir. Kimse bedeni \u015fiir olarak foto\u011fraflayamadan \u00f6nce, birinin kameran\u0131n \u015fiir yazabilece\u011fini kan\u0131tlamas\u0131 gerekiyordu.<\/p>\n

\"Julia

Julia Margaret Cameron, portre \u00e7al\u0131\u015fmas\u0131, 1860\u2019lar\u201370\u2019ler<\/p><\/div>\n\n

Fred Holland Day (1864\u20131933): Sembolist Vizyon<\/h3>\n

Day, bu yeni \u00f6zg\u00fcrl\u00fc\u011f\u00fc s\u0131n\u0131rlar\u0131na kadar zorlad\u0131. Dini ve mitolojik sahneler olarak kurgulad\u0131\u011f\u0131 ve \u00e7arm\u0131ha gerilmi\u015f \u0130sa rol\u00fcn\u00fc \u00fcstlendi\u011fi bir seriyle doru\u011fa ula\u015fan erkek n\u00fc foto\u011fraflar\u0131, Sembolist bir h\u0131rs ile a\u00e7\u0131k\u00e7a homoerotik bir duyarl\u0131l\u0131\u011f\u0131 birle\u015ftirdi. Boston sosyetesini deh\u015fete d\u00fc\u015f\u00fcrd\u00fc; bu foto\u011fraflar, o d\u00f6nemin en ciddi niyetle \u00e7ekilmi\u015f g\u00f6r\u00fcnt\u00fcleri aras\u0131nda yer almaya devam ediyor. Day\u2019den al\u0131nacak ders, neyin s\u00f6z konusu oldu\u011fuyla ilgilidir: O, \u00e7\u0131plakl\u0131\u011f\u0131, ad\u0131n\u0131 sayabilece\u011fi en b\u00fcy\u00fck konular\u0131n bir arac\u0131 olarak ele ald\u0131 ve bu eser, onu ahlaks\u0131z bulan herkesten daha uzun \u00f6m\u00fcrl\u00fc oldu.<\/p>\n

\"Fred

Fred Holland G\u00fcn\u00fc, portre \u00e7al\u0131\u015fmas\u0131<\/p><\/div>\n\n

Frank Eugene (1865\u20131936): Resimsel Bask\u0131<\/h3>\n

Eugene, negatifin kendisine sald\u0131rarak Pikt\u00f6ryalizm ak\u0131m\u0131n\u0131 mant\u0131ksal sonuca ula\u015ft\u0131rd\u0131: Bask\u0131, foto\u011fraf ile karakalem aras\u0131nda bir yerde durana kadar negatifin \u00fczerine \u00e7izikler att\u0131, kaz\u0131d\u0131 ve \u00e7izimler yapt\u0131. Ortaya \u00e7\u0131kan sonu\u00e7, yararl\u0131 bir kafa kar\u0131\u015f\u0131kl\u0131\u011f\u0131 yarat\u0131yor. Onun \u00e7\u0131plak foto\u011fraflar\u0131na birer kay\u0131t olarak bakamazs\u0131n\u0131z, \u00e7\u00fcnk\u00fc her yerde insan elinin izi vard\u0131r; onlara yaln\u0131zca resim olarak bakabilirsiniz. V\u00fccut foto\u011fraflar\u0131na, v\u00fccut \u00e7izimlerinden \u00e7ok daha sert bir \u015fekilde denetim uygulanan bir d\u00f6nemde, bu kafa kar\u0131\u015f\u0131kl\u0131\u011f\u0131 ayn\u0131 zamanda bir kalkan g\u00f6revi de g\u00f6r\u00fcyordu.<\/p>\n

\"Frank

Frank Eugene, i\u015flenmi\u015f bask\u0131<\/p><\/div>\n\n

Anne Brigman (1869\u20131950): Objektifin Her \u0130ki Y\u00fcz\u00fc<\/h3>\n

Buraya ait bir \u00f6nc\u00fc daha var ve bu hik\u00e2yenin anlat\u0131mlar\u0131n\u0131n \u00e7o\u011funda onun yer almamas\u0131, ba\u015fl\u0131 ba\u015f\u0131na hik\u00e2yenin bir par\u00e7as\u0131d\u0131r. Stieglitz\u2019in Photo-Secession grubunun bir \u00fcyesi olan Anne Brigman, Sierra Nevada\u2019ya y\u00fcr\u00fcy\u00fc\u015fe \u00e7\u0131kt\u0131 ve r\u00fczg\u00e2r\u0131n e\u011fdi\u011fi \u00e7am a\u011fa\u00e7lar\u0131 ile granit kayal\u0131klar\u0131n aras\u0131nda \u00e7\u0131plak v\u00fccudunu foto\u011fraflad\u0131; \"Soul of the Blasted Pine\" (1908) gibi g\u00f6r\u00fcnt\u00fclerde oldu\u011fu gibi. Bu makalede ad\u0131 ge\u00e7en hi\u00e7bir erke\u011fin yapamad\u0131\u011f\u0131 bir \u015feyi yapt\u0131: ayn\u0131 anda hem objektifin \u00f6n\u00fcnde hem de arkas\u0131nda durdu; hem yarat\u0131c\u0131 hem de konu oldu ve \u00e7\u0131plakl\u0131\u011f\u0131 \u201c\u00e7ekilen\u201d bir \u015feyden \u201csahiplenilen\u201d bir \u015feye d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. Bug\u00fcn bedeni foto\u011fraflarken modelin foto\u011fraftaki \u00f6zerkli\u011fine \u00f6nem veriyorsan\u0131z, izledi\u011finiz yol onun \u00fczerinden ge\u00e7iyor.<\/p>\n\n

K\u0131r\u0131lmayan \u00c7izgi<\/h2>\n

Kolodyon ve mahkeme tarihlerini bir kenara b\u0131rak\u0131rsak, \u00f6nc\u00fcler d\u00f6rt soru \u00fczerinde tart\u0131\u015f\u0131yorlard\u0131. Bir foto\u011fraf, sanat eseri mi yoksa belge mi? V\u00fccut idealize edilmeli mi, yoksa oldu\u011fu gibi g\u00f6sterilmeli mi? G\u00f6r\u00fcnt\u00fcy\u00fc kim kontrol eder: kameran\u0131n arkas\u0131ndaki ki\u015fi mi, yoksa \u00f6n\u00fcndeki ki\u015fi mi? Ve neyin ne oldu\u011funa kim karar verir? halk g\u00f6rebilir<\/a>? Bunlar\u0131n hi\u00e7biri sona ermedi. Sadece k\u0131l\u0131k de\u011fi\u015ftirdiler: devlet ar\u015fivi, platform algoritmas\u0131na d\u00f6n\u00fc\u015ft\u00fc; akademi lisans\u0131, i\u00e7erik politikas\u0131na d\u00f6n\u00fc\u015ft\u00fc; ve hi\u00e7bir kameran\u0131n hi\u00e7 g\u00f6rmedi\u011fi bedenlerin g\u00f6r\u00fcnt\u00fcleri \u00fczerine d\u00f6nen en yeni tart\u0131\u015fma ise, \u00fcretken k\u0131l\u0131\u011fa b\u00fcr\u00fcnm\u00fc\u015f en eski tart\u0131\u015fmad\u0131r. Bu son tart\u0131\u015fmaya verdi\u011fim cevap fiziksel d\u00fczeyde kald\u0131: G\u00fczel sanatlar prati\u011fimdeki her \u015fey kamera \u00f6n\u00fcnde, ger\u00e7ek bir ki\u015fi, ger\u00e7ek \u0131\u015f\u0131k ve ger\u00e7ek kuma\u015fla \u00fcretiliyor; \u00e7\u00fcnk\u00fc i\u015f birli\u011fi, bir \u00fcretim a\u015famas\u0131 de\u011fil, eserin ta kendisidir.<\/p>\n

Ya\u015fad\u0131\u011f\u0131m ve ders verdi\u011fim Berlin, bu deneyi s\u00fcrd\u00fcrmek i\u00e7in do\u011fal bir laboratuvar niteli\u011findedir. \u015eehrin Freik\u00f6rperkultur gelene\u011fi, \u00e7\u0131plak bedeni s\u0131radan bir \u015fey olarak kabul eder; bu da seans\u0131n \u00e7\u0131plakl\u0131\u011f\u0131n kendisinden daha ilgin\u00e7 bir konuya odaklanmas\u0131n\u0131 sa\u011flar. \u0130\u015fte bu, burada ve \u0130stanbul\u2019da d\u00fczenledi\u011fim at\u00f6lyeler<\/a>: Her bask\u0131 bir kavramdan yola \u00e7\u0131kar; t\u0131pk\u0131 Durieu\u2019nun Delacroix\u2019n\u0131n fikrinden, Day\u2019in ise kutsal metinlerden yola \u00e7\u0131kt\u0131\u011f\u0131 gibi; foto\u011fraflar bu fikri takip eder, tersi de\u011fil. \u00d6nc\u00fcler, bu t\u00fcr\u00fcn varl\u0131k hakk\u0131n\u0131 kazand\u0131rd\u0131lar. Onlara olan borcumuz, bu t\u00fcr\u00fcn anlaml\u0131 kalmas\u0131n\u0131 sa\u011flamakt\u0131r.<\/p>\n

\"Bir

Vah\u015fi Do\u011faya \u2014 Burak Bulut Y\u0131ld\u0131r\u0131m<\/a><\/p><\/div>\n\n

Foto\u011fraf\u00e7\u0131lar\u0131n sordu\u011fu sorular<\/h2>\n

\u0130lk \u00e7\u0131plak foto\u011fraflar\u0131 kim \u00e7ekti?<\/h3>\n

Foto\u011fraf\u00e7\u0131l\u0131\u011f\u0131n 1839\u2019da duyurulmas\u0131ndan birka\u00e7 y\u0131l sonra, \u00e7o\u011funlukla Paris\u2019te ressamlar i\u00e7in \u00e7al\u0131\u015fma niteli\u011finde \u00e7\u0131plak daguerreotipler ortaya \u00e7\u0131kt\u0131. 1850\u2019lerin ba\u015flar\u0131nda Durieu\u2019nun Delacroix ile yapt\u0131\u011f\u0131 i\u015fbirli\u011fi, bu t\u00fcrdeki en eski, uzun soluklu ve belgelenmi\u015f sanatsal projedir.<\/p>\n

\u00c7\u0131plak foto\u011fraf\u00e7\u0131l\u0131k ne zaman sanat olarak kabul g\u00f6rmeye ba\u015flad\u0131?<\/h3>\n

Yava\u015f yava\u015f ve hi\u00e7bir zaman tam olarak de\u011fil. Krali\u00e7e Victoria\u2019n\u0131n 1857\u2019de Rejlander\u2019in kompozit foto\u011fraf\u0131n\u0131 sat\u0131n almas\u0131, bu ak\u0131m\u0131 me\u015frula\u015ft\u0131ran ilk \u015fok edici olayd\u0131; 1900 civar\u0131nda Pikt\u00f6ryalistlerin kurumsal alanda yer edinmesi; m\u00fczeler ise yirminci y\u00fczy\u0131lda bu ak\u0131m\u0131 benimsedi. Platform \u00e7a\u011f\u0131ndaki sans\u00fcr, bu kabul\u00fcn h\u00e2l\u00e2 \u015fartl\u0131 oldu\u011funu g\u00f6steriyor.<\/p>\n

\u201cAcad\u00e9mie\u201d nedir?<\/h3>\n

Frans\u0131z akademik gelene\u011fine dayanan, sanat\u00e7\u0131lar\u0131n kullan\u0131m\u0131 i\u00e7in yap\u0131lm\u0131\u015f bir \u00e7\u0131plak fig\u00fcr \u00e7al\u0131\u015fmas\u0131. 1850'ler Paris\u2019inde bu terim ayn\u0131 zamanda bir hukuki kategoriyi de ifade ediyordu: Kay\u0131tl\u0131 akademi eserleri a\u00e7\u0131k\u00e7a sat\u0131labiliyorken, kay\u0131t d\u0131\u015f\u0131 \u00e7\u0131plak fig\u00fcrler m\u00fcstehcenlik su\u00e7lamas\u0131yla kar\u015f\u0131 kar\u015f\u0131ya kalabilirdi.<\/p>\n

G\u00fcn\u00fcm\u00fczde sanatsal \u00e7\u0131plak fig\u00fcr \u00e7izimini pratik olarak nerede \u00f6\u011frenebilirim?<\/h3>\n

Bunu, g\u00f6z al\u0131c\u0131 bir format olarak de\u011fil, kavramsal bir disiplin olarak \u00f6\u011freten foto\u011fraf\u00e7\u0131larla \u00e7al\u0131\u015f\u0131n. Bizim Berlin ve \u0130stanbul\u2019daki at\u00f6lye \u00e7al\u0131\u015fmalar\u0131<\/a> bu makalenin ele ald\u0131\u011f\u0131 sorular\u0131n tam \u00fczerine in\u015fa edilmi\u015ftir; burada model bir i\u015fbirlik\u00e7i, konu ise \u00e7\u0131plakl\u0131k de\u011fil, kavramd\u0131r. Bu sitedeki ilgili yaz\u0131lar: bedensel bir dil gibi g\u00f6r\u00fcnerek<\/a> ve \u00e7\u0131plak fig\u00fcr\u00fcn ayd\u0131nlat\u0131lmas\u0131<\/a>.<\/p>\n\n

\n

Bu at\u00f6lyeler g\u00f6steri\u015fli \u00e7ekim seanslar\u0131 de\u011fildir. Her bir etkinlik belirli bir konsept \u00fczerine kurulmu\u015ftur ve cinsellik, tema, bi\u00e7im ve foto\u011fraf\u00e7\u0131-model i\u015fbirli\u011finin gerisinde, kas\u0131tl\u0131 olarak \u00fc\u00e7\u00fcnc\u00fc veya d\u00f6rd\u00fcnc\u00fc s\u0131raya itilmi\u015ftir; kat\u0131l\u0131mc\u0131lar, bir fikre ait g\u00f6r\u00fcnt\u00fclerle at\u00f6lyeden ayr\u0131l\u0131rlar. At\u00f6lyeler, on d\u00f6rt y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcredir elli'den fazla etkinlikle devam etmekte olup, \u00fc\u00e7 y\u00fczden fazla foto\u011fraf\u00e7\u0131n\u0131n kat\u0131l\u0131m\u0131yla ger\u00e7ekle\u015ftirilmi\u015ftir ve bu etkinlikler, Burak Bulut Y\u0131ld\u0131r\u0131m<\/strong>, 2005 y\u0131l\u0131ndan bu yana faaliyet g\u00f6steren, Berlin merkezli bir foto\u011fraf\u00e7\u0131 ve k\u00fcrat\u00f6r; Berlin, Z\u00fcrih, Barselona, Roma, Selanik ve Heilbronn\u2019da sergiler a\u00e7m\u0131\u015f olup, ayn\u0131 zamanda \u0130stanbul\u2019un \u00c7\u0131plaklar\u0131<\/em> (Die Akt Galerie Berlin, 2026; Mijuk Papers Berlin taraf\u0131ndan bas\u0131lm\u0131\u015f ciltli kitap).<\/p>\n

Yakla\u015fan at\u00f6lyelere g\u00f6z at\u0131n<\/a>\u00a0\u00a0\u00a0Yeni tarihlere ilk eri\u015fim hakk\u0131 kazan\u0131n \u2192<\/a><\/p>\n

Portf\u00f6y: burakbulut.org<\/a> \u00b7 S\u0131n\u0131rl\u0131 say\u0131da \u00fcretilen \u00fcr\u00fcnler Saatchi Sanat<\/a> ve Artsper<\/a> \u00b7 \u0130leti\u015fim: hello@nudeartworkshops.com<\/a><\/p><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":4570,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ai_generated_summary":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-4544","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-2"],"_links":{"self":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4544","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/comments?post=4544"}],"version-history":[{"count":0,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/posts\/4544\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media\/4570"}],"wp:attachment":[{"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/media?parent=4544"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/categories?post=4544"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nudeartworkshops.com\/tr\/wp-json\/wp\/v2\/tags?post=4544"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}