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Impacts of Westernization on Turkish Painting Osman Hamdi Bey- Vasiliy Vereshchagin
J. Schranz painted İstanbul landscapes and İtalian painting Presiozi reflected the daily life
(Cezar, 1995, p. 121-122).
Another practice which was initiated during Abdülmecid’s reign (1839-1861) was that
portraits of Ottoman Sultans were sent to Ottoman embassies and European rulers. The
painter named Oreker organized an exhibition of landscapes at the court for the Sultan and it
passed into Ottoman history as the first exhibition (Cezar, 1995, p. 125-126).
Abdülazis (1861-1876), who had a different education than Sultan Abdülmecid, protected arts
and have plays staged in the theatre across the Dolmabahçe Palace. Abdülaziz’s interest in
theatre started the theatre décor studies which in fact consisted of various paintings. First
theatre décor was designed by foreign artists and the most famous artist among those is Italian
Merlo (Cezar, 1995, p. 144-146, Sevengil, 1962, p. 19).
During Abdülaziz’s only European trip in 1867, “International Paris Exhibition” was opened
and it was one of the significant developments that İstanbul images captured by Abdullah
Brothers were awarded honourable mention in addition to the authentic and antique items in
the Ottoman Empire pavilion. On his way back, Abdülaziz visited Wien and saw the pieces in
the Belvedere Palace which was a museum on that date. After he returned from Europe, he
had his sculpture on horseback made by sculptor C. F. Fuller in 1871.
Among the artists who were invited to the court during Abdülaziz’s reign were Abdullah
Brothers, Ayvazovskiy, Guillemet and Ahmet Ali Bey (Şeker Ahmet Paşa). Opening of
Archeology School and first private Academy, first painting exhibitions, participation in Wien
Exhibition in 1873, printing pictured newspapers and including articles
on philosophy and arts
which can be deemed significant for those years are significant incidents which took place
during Abdülaziz’s reign (M. Cezar, 1995, p. 147-154).
The most significant aspect of Sultan Abdülaziz was that he also painted. Although his works
were mostly sketches, his son Şehzade Abdülmecid made large scale oil paintings.
After the Imperial School of Military Engineering and Military College which helped in
training of first Turkish painters with technical courses, a school named “Menşe-i Muallimin
S n f ” was opened in 1864 in which students who graduated from the Military College have
attended to become teachers. Courses were practical and theoretical in the painting
department of this school which could be considered on the university level. Darüşşafaka
High School was founded in 1873 and this institution also prioritized education in painting.
Among the painters who were trained at this school were Şefik, Vidinli Osman Nuri,
Kas mpaşal Hilmi, Ahmet Rag p, Salih Molla Aşki, Necip, Fatihli Mustafa, Giritli Hüseyin
Şevki, Hüseyin Lofçal Ahmet as well as the artists whom we know from their works such as
Fahri Kaptan, Eyüplü Cemal, Cihangirli Mustafa, Hasköylü Ahmet İhsan, Ahmet İhsan,
Ahmet Bedri and Ahmet Ziya. The common aspect in the paintings of the painters of that era
is that similar landscapes were painted with notable side lines and constant light without any
interpretation and without reflecting the personality of the artist. This is because those
painters used the method of painting from photographs (İrepoğlu, 1986, p. 18).
Mekteb-I Osmani was founded in 1860 as an elementary school with a teaching staff mostly
comprised of French teachers with the purpose that the young people graduated from the
military high schools who are sent to Paris for education are enabled to follow their courses
and they are disciplined, but it was closed in 1874. Among the artists who were educated in
110
Gonul Uzelli
Mekteb-I Osmani and Paris were Ahmet Ali Bey (Şeker Ahmet Paşa), Osman Hamdi Bey and
Süleyman Seyyid (Renda and Erol, 1980, p. 114).
In 1873, Şeker Ahmet Paşa organized his first public exhibition in the university building in
Çemberlitaş. In 1874, French artist Guillemet opened a private “Painting and Pattern
Academy” in Beyoğlu and thus the first step was taken towards painting education outside
military school.
Some of the artists in İstanbul were members of “Elifba Club” and their first exhibition in
Tarabya Greek Girls’ School in 1880 was open to public. Their second exhibition was in
Tepebaş Municipality Garden in 1881. Participation was higher in the second exhibition.
After the Russo-Turkish War, Sanayi-i Nefise Mekteb-i Ali was opened in 1883 and Osman
Hamdi was appointed as the Principal. Teachers at the school were mostly foreign and teacher
of charcoal drawing class was Warnia of Poland while teacher of oil painting class was Valery
of Italia. Most of the students were Greek and Armenian, but there were also young Turks
among them (İrepoğlu, 1986, p. 18-20).
Late 19
th
century, Pera has become the most important arts centre in İstanbul. Guillemet’s
exhibition in 1875, Guillemet's exhibition with his students in 1876, exhibition of Osman
Hamdi, Süleyman Seyyid, Civanyan et al. in 1881 and Gérome, Ayvazovskiy, Van Dyck,
Rembrandt exhibition again in 1881, Sarkis Diranyan and Abdullah Brothers’ exhibition in
1883 and Baron A.de Fay Splenyi’s Collection in 1887 were all opened in Pera. These
exhibitions were followed by Zonaro in 1892, Prieur-Bardin and Gülmez Brothers’
photographs in and Schiffi and Maison Chavin exhibitions in 1893, Zonaro and Civanyan
exhibitions in the same year, Svoboda and Cite Sheikh in 1894 and Agopyan, Mardighiyan's
exhibition and a mixed exhibition in 1896 and Şeker Ahmet Paşa exhibition and Prieur-Bardin
exhibition in 1897.
Last exhibitions of the 198
th
century were the exhibitions of Adolphe Beaume-Leduc in 1898
and the exhibitions opened in various venues by Şeker Ahmet Paşa, Emilio Della Sudda-
Maison Comendinger, Prieur-Bardin, Viskonti et Stefano and Svoboda. Exhibitions were
opened in this region by Theodoroff in 1899 and Şeker Ahmet Paşa in 1900 (Aksüğür, 1990).
3.Art Education of Osman Hamdi Bey