271
Osman Asaf of the First Generation
Artists of Turkish Painting
Figure 1. Osman Hamdi Bey, Cezar, 1983
4- Osman Asaf in Turkish Painting
Osman Asaf was born as the first child of customs manager Kemal Bey and Nuriye Han m in
Sarajevo in 1868. After his father passed away when he was ten years old, he started a new
life in Fatih, İstanbul with his mother and brother (Köksal, 1991). The sources are inadequate
to obtain any information about the artist’s childhood and early education period. However, in
1889, when Osman Asaf was 21 years old, his name was among the first painters who
graduated from the School of Fine Arts (Çoker, 1983, p. 33).
During the first period of the
School of Fine Arts where Osman Hamdi was the principal, Yervant Osgan was a sculpture
tutor while Salvatore Valeri (1856-1946) was a painting professor, Warnia Zarzecki (1850-?)
was a charcoal tutor, Alexandre Vallauri (1850-1921) was a professor of architecture,
Philippe Bello was the assistant professor of architecture and Ömer Adil (1868-1928) was
also a charcoal tutor (Çoker, 1983, pp. 21-32). It is obvious Osman Asaf, who was receiving
education at the painting department, took courses from Salvatore Valeri and Warnia Zarzecki
(Figure 2).
Figure 2. (circa 1886) The teachers and
twenty students of the School of Fine Arts,
Çoker, 1983
Sitting left to right: Salvatore Valeri,
Leonardo de Mango, Osman Hamdi Bey,
Yervant Osgan and Zarzecki.
Painters such as Mahmut Bey (1860-1920), Hüseyin R fat (1861-1939), Muallim Şevket
(1865-1893), Ahmet Ziya Akbulut (1869-1938) and Şevket Dağ (1875-1944) graduated from
the School of Fine Arts around the same years as Osman Asaf (Çoker, 1983, p. 33). Thus,
Osman Asaf was a member of the pioneer generation of Turkish painting along with such
masters as Osman Hamdi Bey, Şeker Ahmed Pasha, Halil Pasha (1857-1939), Hoca Ali R za
(1858-1930), the Caliph Abdülmecid Efendi (1868-1944) and Şevket Dağ. Although he was
also a contemporary of what is called the “Generation of 1914”, which included Sami Yetik
(1878-1945), Hikmet Onat (1880-1977), Nazmi Ziya (1881-1937), İbrahim Çall (1882-1960),
Feyhaman Duran (1886-1970), Avni Lifij (1889-1927) and Nam k İsmail (1890-1935),
Osman Asaf cannot be considered as a part of this group due to differences in style and
content (Giray, 2000).
Asaf constituted a part of the changing face of the Ottoman society as he became a
member of the first generation of representatives of the newly developing Turkish painting. In
this period, the artists did not have a tendency to be individualistic. The effort to be accepted
by the society led artists to come together and practice within the framework of common
values. In accordance with this effort, the necessity for the artists to be unified under the same
roof constitutes the basic motivation for the establishment of the “Society of Ottoman
Painters”, which was established in Üsküdar in 1908 just after the
declaration of the beginning
of the Second Constitutional Era (23 July 1908), on the basis of the Article 120 of the 1876
Constitution, which recognized the freedom to establish Associations, and it is the first
Zeynep
Demircan Aksoy
272
professional society to be founded by Turkish painters (Güler, 2007, p. 11). The initial
members of the Society, whose first chair was Hoca Ali R za, were Sami Yetik, Şevket Dağ,
Hikmet Onat, İbrahim Çall , Agah Bey, Ruhi Arel, Kaz m Bey, Ahmet İzzet, Ahmet Ziya
Akbulut and Mesrur İzzet. It is understood from the statements in the documents of the
Society, whose number of members rose in the following years, that it performed exhibits at
the Üsküdar Ferry Port (Güler, 1994, p. 33; Başkan, p. 61)
The Society started publication in 1910 with the “Journal of Society of Ottoman
Painters”. The editor in chief of the journal, which was supported by the Caliph Abdülmecid
and was under the management of Abdülkadirzade Hüseyin Haşim Pasha, was Osman Asaf
(Gören, 1998, pp. 46-47). In the first ten issues of the journal, which published 18 issues until
1914, the inscription Society of Ottoman Painters and Abdülmecid Efendi’s portrait with a
pallet and brushes were printed on the cover. From the 11
th
issue onwards, this portrait was
removed and every new issue would include a different painting (Figure 3). As the manager
responsible for each issue Osman Asaf contributed to this process. The publication was aimed
to inform the broader public, the intellectual circles of İstanbul to begin with, about fine arts;
however, the journal was short-lived and in 1914 the last issue would be published (Güler,
1994, pp. 30-41; Şerifoğlu, 2003, pp. 11-15). After the outbreak of the First World War,
Osman Asaf would go to the Band rma district of Bal kesir and work as the mayor throughout
the war. As a result of his endeavors there, in the following years his name would be given to
the street where he worked. The artist would continue to paint while supporting the National
Struggle at the same time and he would paint about the region where he was residing
(Güvemli, 1982, p. 24).
The First World War influenced sociological and political structures of societies as well
as their cultural and artistic environments. The artists of the Generation of 1914, who went to
Paris for education after graduating from the School of Fine Arts, were to return to the
country after the outbreak of the First World War and make their presence known within the
Society of Ottoman Painters. Despite the difficult conditions caused by the war, the members
of the Society of Ottoman Painters would start to open group exhibits from 1916 onwards
named as the Galatasaray Exhibits and continue to work until the 1940s. In 1919, the dynamic
Society of Ottoman Painters broadened its regulations and was renamed “Society of Turkish
Painters”. Later in 1926, the name was to be changed to first the “Turkish Union of Fine Arts”
and then the “Union of Fine Arts” (Güler, 2007, p. 11). In 1923, associations established by
artists who shared similar art principles, such as first the “New Painting Society” and then the
“Union of Independent Painters and Sculptors”, were to step into the history of Turkish
painting (Giray, 1997, pp. 32-35).
Rather than participate in the Galatasaray Exhibits, Osman Asaf would choose to
perform his job as a teacher. After giving lectures in many high schools in addition to
Numune-i Terakki Mektebi (currently İstanbul High School), the artist retired in 1932 from
Pertevniyal High School and died in 1935 in K z ltoprak, İstanbul (Köksal, 1991). A short
time before his death, he took the last name “Bora” due to the surname law however he did
not add this name to his signature on his paintings.