Osman Asaf of the First Generation Artists of Turkish Painting
Zeynep
Demircan Aksoy
1- Introduction
In order to look for the origins of Turkish painting, one must first delve into the steppes of
Asia and examine the cultural and artistic works of Turkish tribes, who mostly lived as semi-
nomads since the Proto-Turkic era. In this context, it is widely accepted that the figures
describing mostly hunts and were painted on rocks and walls in the Steppe Culture basin of
Inner Asia or the wall paintings decorating the Uighur Buddhist temples constitute the origins
of Turkish painting (Çoruhlu, 2007). However, a consideration of the beginnings of Western
painting designated a shorter process and helps understand all values accumulated in the
cultural and artistic environment between the later period of the Ottoman Empire and the
present time. Osman Asaf, the subject of this study, is important for he was among the
pioneers of Western-style Turkish painting, history of which is based upon these last two
centuries. Practicing within a novel environment of art for the Turkish society, Osman Asaf
remained in the background compared to his contemporaries and took part in a limited
number of publications. However, like his better-known contemporaries, Osman Asaf is the
epitome of his period and his works reflect the prevalent sense of the period.
2- Method
It is a known fact that the sense of art and the social structure of a period are effective in
shaping the style of artists. Accordingly, the origins of Turkish painting and the cultural
environment in which Osman Asaf lived must be well known in order to understand the
artist's works and evaluate his style from a clear perspective. This study attempts to sketch out
an outline of Turkish painting, especially the period that started to develop before Osman
Asaf, in order to position the artist. The life of the artist and his contributions to the period’s
art environment have been chronologically examined. Next, an attempt has been made to
determine the subject, technique and stylistic features of Osman Asaf’s artworks by analyzing
over fifty of his paintings found in existing publications.
3- A Brief Look at Western-Style Turkish Painting
As an effect of Islamic philosophy, the tradition of painting in Turkish-Islamic society was
been limited to manuscripts with miniatures. However, rapid and fundamental changes began
to be experienced in the political and social life of the Ottoman Empire at the end of the 18
th
century. The reformation attempt of the Ottoman State, which was gradually losing power,
was caused by the desire to reach the level of military success achieved by Europe.
The period
described as “Westernization” starts with the reign of Ahmed III (1703-1730) and accelerates
greatly with the opening of the Imperial School of Military Engineering during the reign of
Selim III (1789-1807) (Gören, 1998, pp. 28-29).
The lectures on pattern and perspective given for the first time in accordance with
Western style at the School
of Military Engineering, which was established in 1793,
constitute
an important point for Turkish painting. Talented students were discovered while making
topographical illustrations at the School, which was established to train engineer and artillery
officers, and the first representatives of Turkish painting, known as the “Generation of
Military Painters” was born (Giray, 1998 pp. 42-43). Instead of attempting to create
Zeynep Demircan Aksoy
270
individual styles, these painters, who constituted an original development for the Ottoman
society, produced paintings predominantly depicting landscapes in the light of their artistic
abilities. Bolder and more progressive tendencies should not be expected from the painters of
this era.
The number of artists who produced similar works increased after art lessons were put
into the curriculums of the Military Academy (1834), State School of Engineering (1859),
Galatasaray High School (1868), Darüşşafaka High School (1872) and
the military junior high
schools. From the mid-19
th
century to the mid-20
th
century many artworks were produced that
realistically depicted various historical regions of İstanbul. Many artists such as Beşiktaşl
Tevfik (1871-1914), Giritli Hüseyin (1873-?), Karagümrüklü Hüseyin (?-?), Infantry Sub-
governor Ahmed Şekür (1856-?), Üsküdarl Osman (1866-1921) and Bedri Kullar (?-?), not
much more than whose their names is known, have lived on to our day with their artworks.
The first graduates of military schools such as Lieutenant General İbrahim Pasha (1815-
1889), Lieutenant General Tevfik Pasha (1819-1866) and Hüsnü Yusuf (1817-1861), who had
the opportunity to continue their education in Europe, were followed by artists that left marks
in Turkish painting, such as Osman Nuri Pasha (1839-1906), Şeker Ahmed Pasha (1841-
1907), Süleyman Seyyit (1842-1913) and Hüseyin Zekai Pasha (1860-1919) (Giray, 1997, pp.
17-19). It is observed within the generation of military painters that particularly those
educated in Paris were more successful in terms of their art technique and gradually
developed their own styles.
Non-Muslim and Levantine painters practicing in İstanbul also made a huge
contribution to the cultural environment of the city within this course of events, which
progressed in parallel with the social structure of the 18
th
and 19
th
centuries. The Ottoman
administration, which turned its face towards the West in this period, was only comfortable
with having non-Muslim painters practicing in and around Pera, but also became an employer
of many artists. In addition to Ottoman artists such as Kirkor Köçeoğlu (1845-1883), M g rdiç
Givanyan (1848-1906) and Yervant Osgan (1855-1914), foreign artists such as Pierre Désiré
Guillemet (1827-1878), Stanislas Chlebowski (1835-1884), I. Konstantinoviç Aivazoski
(1817-1900), Amedeo Preziosi (1816-1882), Phillipe Bello (1830-1911), Fausto Zonaro
(1891-1929) and Leonardo de Mango (1883-1930), who were more successful in terms of
technique and style, also contributed to the formation of a new culture and art environment
with both their exhibits and their private lessons (Renda, 2004, pp. 947-948).
Osman Hamdi Bey (1842-1910) occupies a different position in Turkish cultural and
artistic history. Osman Hamdi Bey (1842-1910), son of Grand Vizier İbrahim Ethem Pasha,
started practicing art in France, where he went to receive law education, and undertook many
of the first and important projects for the Turkish society (Cezar, 1971). As it is known, the
most important step that the artist took for Turkish painting was his establishment of the
School of Fine Arts in 1883. With the opening of this school, fine arts education began to be
provided by an official and systematized institution for the first time in the Turkish Art
History (Cezar, 1983, pp. 5-13) (Figure 1). Osman Asaf was in his early youth in the early
days of this institution, which provided art, sculpture and architecture education and which
was the predecessor of İstanbul Academy of Fine Arts. For Osman Asaf, who was trying to
expand his interest in art to something more than just a simply hobby and make it an essential
aspect of his life, and for his contemporaries, the establishment of the
School of Fine Arts was
a great opportunity.