betty woodman’ın seramiklerinde resim.pdf

7/28/2019 Betty Woodmann Seramiklerinde Resim.pdf

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Do. / Assoc. Pro. Canan Atalay Aktu

Betty Woodmann Seramiklerinde

Resim, Heykel ve Mimarinin Birliktelii

Union of Paintings, Sculpture and

Architecture in Betty Woodmans Ceramic Ware

zetBu makalede gnmzn en nemli seramik sanatsBetty Woodmann, resim, heykel ve mimarinin yanndaarkl kltrlerden ald spesik etkilerle retmiolduu seramik yaptlar irdelenmitir. Eklektizmi,

sanatn besleyen nemli bir yaklam olarak kullananWoodmann reerans ald etkiler, grsel rneklereliinde analiz edilmitir.

Anahtar KelimelerResim, Seramik, Moti Resmi, Dekorasyon, Gauguin,Matisse, Bonnard, Barok Mimarisi

Seramik, resim ve heykeli grsel anlamda bir aradatutan zellikler yzey olanaklaryla ilgili olmasnnyannda, seramiin ve heykelin boluk iindearkl alardan grlebilecek ynlerinin olmasdr.Resimde k, glge, ak-koyu ton arkllklaryla elealnan imgeler, seramik sanatsna da bu imkan

sunabilmektedir. Her alan da malzemeyle olanbamlkllar dnda aralarndaki ortaklklarn verdiiolanaklar kullanabilen sanat iin zengin bir grameroluturabilecek disiplinlerdir.

Bu balamda, nemli baarlara imza atm Amerikalseramik sanats Betty Woodman, resimden heykele,mimarlktan arkl kltrlere uzanan eklektik sanatanlayn seramik malzemesinin diliyle harmanlayanbir sanat olarak son yllarda dikkat ekici almalaraimza atmaktadr. almalarnda arkl disiplinlerive kltrleri i ie kullanarak seramik sanatnayeni anlatm biimleri getiren Woodman, tarihten,kltrden, resim, heykel ve mimarlktan ald esinlerleseramik malzemesinin snrlarn gelitirmitir. zelliklesanat tarihinin nemli bayaptlardan ald etkilerleseramik enstalasyonlar reterek ilevsel amal

AbstractThis article discusses the ceramic works built by themost signicant ceramic ne artist o today, BettyWoodman, under specic inuences she receivedrom diferent cultures in addition to paintings,sculptures and architecture. Inuences used asreerence by Woodman who uses eclecticism asan important approach nurturing her art wereanalyzed accompanied by visual examples.

KeywordsPainting, Ceramics, Moti Painting, Decoration,Gauguin, Matisse, Bonnard, Baroque Architecture

Features holding the arts o ceramic, painting andsculpting visually together are that ceramics andsculpting has aspects which may be seen romdiferent angles within space in addition to theirrelation to surace capabilities. Images handledthrough light, shadow and light and dark tonediferences in a painting allow this capability tothe ceramic ne artist as well. All three areas aredisciplines which can create a rich grammar or theartist who is able to use the acilities aforded by thepartnerships among them beside their dependenceon material.

In this context, American ceramic ne artist BettyWoodman, with signicant success, has beenundertaking works o interest in recent years asan artist who batches her eclectic art perspectiveextending rom the painting to the sculpture,rom architecture to cultures, with the language oceramic material. Woodman, who brings new ormso expression to the art o ceramics using diferentdisciplines and cultures in an intertwined manner,has advanced the limits o the ceramic materialby the inspirations she has received rom history,culture, paintings, sculptures and architecture.She has added new orms o decoration toher unctional products by building ceramic

installations with the inuences she received romsignicant masterpieces o the history o art. In

anakkale Onsekiz Mart niversitesi Gzel Sanatlar Fakltesi, Seramik Blmanakkale Onsekiz Mart University Faculty o Fine Arts Ceramics Department


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Resim 1 Tang Dnemi etkisinde yaplan Yastk Srahi, 52x61.5x, 36.5cm,1981Picture 1 Pillow Pitcher built under the infuence o Tang Period, 52x61.5x, 36.5cm,1981

Resim 2 Persli Yastk Srahi, 55x55x30cm, 1975-76Picture 2 Persian Pillow Pitcher, 55x55x30cm,1975-76

rnlerine yeni ssleme biimleri katmtr. EtrskSanat, znik Seramikleri, talyan Mayolikalar, BarokMimarl gibi zengin kltrlerin yansra Gauguin,Bonnard ve Matisse gibi nemli ressamlardan aldetkileri seramiin bnyesinde homojen bir yap iinde

sunarak disiplinleraras etkileimi doruk noktasnaulatrmtr.

Amerikada 1948-50 yllar arasnda Alred niversitesi,Seramik Blmnden mezun olan Woodman, buradabir dnem ders veren Uzakdou seramiklerinin anlamve nemini yaymaya alan Bernard Leachn tornaderslerini izledi. 1 Daha sonra 1970lerde Pattern veDekorasyon ad altnda nemli bir sanat hareketiiinde kendini gsterdi. Trkeye Moti Resmi olarakevrilen bu hareket 1970-80 yllar arasnda ABDdeII. Dnya Sava Sonras dnemin sanat dnyasndadekorati kelimesinin hor grlmesine hatta hakaretkabul edilmesine bir tepki olarak domutu. Bu

hareket iinde yer alan sanatlar, zellikle Kelt veslam uygarlklarnn ince rneklerine dayanarakbu inanc yok etmeye alan eylemin iinde yeraldlar. Bylece, baka bir ok adlandrmann tersineotantik bir hareketin ad domu oldu. zellikleRobert Zakanitchin nderliinde Brad Davis, JoyceKozlof, Robert Kushner, Kim Mac Connel, Ned Symthgibi sanatlar dnemin sanatsal etkinlikleriyleilgilenmemiler, sanatta dekorati unsurlar bir arayagetirmeye zen gstermilerdir. 2

Bu topluluk sanatlar arasnda bulunan Woodman,geleneksel motierden ilham alarak ada seramiksanatnda dekorati unsurlar canlandrmaya ynelikiler retmitir. Canl renklerin, ssl motierin iie olduu ilevsel seramik almalaryla dikkatekmeye balamtr. Yetmili yllarn banda yaptseramik almalarnn sslemeleri ressam ei GeorgeWoodmann katklaryla gerekletirilmitir. Daha sonraBetty Woodman almalarn tamamen kendi banasrdrmtr. 3

addition to rich cultures like Etruscan art, IznikCeramics, Italian Majolica and Baroque Architecture,ofering the inuences she took rom signicantpainters like Gauguin, Bonnard and Matisse within a

homogeneous structure in the body o ceramic hastaken interdisciplinary interaction to its peak point.

Woodman, who graduated rom Alred UniversityCeramics Department in 1948-50 in US, observedthe wheel courses o Bernard Leach who was aninstructor there or a period, trying to spread themeaning and signicance o Far East ceramic ware.1 Later, she took part in a signicant art movementunder the name o Pattern and Decoration in1970s. This movement, translated into Turkish asMoti Picture has come to lie as a reaction tohumiliation, even been taken as an insult, o theword decorative in art world o the Post World War

II Period in the US in 1970-80. Artists, who took partin this movement, tried to destroy this belie relyingon ne examples o especially Celtic and Islamic art.Hence, the name o an authentic movement wasborn in contrast to many other names. Especially,artists like Brad Davis, Joyce Kozlof, RobertKushner, Kim Mac Connel and Ned Symth lead byRobert Zakanitch were not interested in the artisticactivities o the period, striving to bring togetherdecorative elements in art. 2

Woodman, who was among the artists o thisgroup, has created works trying to reanimatedecorative elements in the contemporary art oceramics inspired by traditional motis. He startedto get attention with his unctional ceramic workswhere vivid colors and decorative motis wereintertwined. The decorations o the ceramic worksshe made in early seventies were undertaken withthe contributions o her painter husband GeorgeWoodman. Later on, Betty Woodman has pursuedher work totally on her own. 3


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1975 ylnda Woodman, azlar birbirine gelecekekilde birletirilmi kendine zg, yana yatk ikikaptan oluan yastk srahi adl almalarylanlenmitir. Kaplarn birleme noktas zerinde tepedesrahinin aznn yer ald bu yeni orm anlayylaWoodman, Tang Hanedan Dneminin (618-907) 4kzl kahve ve yeilinin kullanld rnlerden aldetkiyle dneminin en popler almalarn yapmtr.Yllar ierisinde gerekletirdii benzer ormlarda

(Resim 2) ortaya kard seramiklerinde arkl sr veaz biimleriyle alternati denemeler yapan sanat,seramiin kap sanat olduu ilkesine gnlden balbir anlayla almtr. Arabesk kvrmlarla yklkulplar, isel sr uygulamalaryla daha ok toparlakve simetrik orm anlaynda seramiklerini retmeyedevam etmitir.

Sanat kariyerinde yastk srahi ormlarylailerlemeyi srdren Woodman, rengi n plandatutarak soyut, kaligrak ra vurularyla yeniormlar ortaya karmtr. Kesilmi vazo orm olarakadlandrabileceimiz bu alma serileri zerinderenkli geometrik biimleri yan yana getirerek

kolaj yntemiyle kendine zg bir ssleme tarzgelitirmitir. Form-dekor btnln vazonunetranda srekli olarak dolaan bir ra hareketiylesalayan Woodman, sonsuz eitlikte vazo ormlaroluturmutur. Ressam Jackson Pollockun tuvalinetranda bir ayin yapyormuasna dolanarakyapt eylemle rten sanat, iselliini her zamannemsemitir. Renk kullanm, hacim, sergilemeteknikleri ve sslemeye ynelik olarak almalarnsrekli olarak yenilemitir. Max Protetch Galerisindesergiledii, Terra sigillata ile boyad ve tuvallereyerletirmek suretiyle gerekletirdii bir dizi duvaralmasnda arkl malzemelerin birlikteliindenyararlanmtr. ki ayr maddenin karmndan meydana

gelen ve kartrld zaman dayankl plastik birmalzeme olan epoksi reine boyayla seramii i iekullanmtr. (Resim 14)

In 1975, Woodman made a name or hersel withher original works titled pillow pitchers composedo two side leaning containers joined so that theirmouths are opposed to each other. With this newconcept o orm where the mouth o the pitcher isat the top on the juncture point o the containers,Woodman has produced the most popular workso her period under the inuence by productswhere red brown and green o the Tang DynastyPeriod (618-907) 4were used. The artist, who triedalternative works with diferent glaze and mouthorms in her ceramics she produced in similar ormsthrough the years (Picture 2) has operated under a

concept connected rom the heart to the principlethat ceramic is an art o containers. She hascontinued producing her ceramic ware mostly inround and symmetrical orm concepts with handlesloaded with arabesque curves and interior glazingapplications.

Continuing to advance in her art career with pillowpitcher orms, Woodman has created new ormsby abstract and calligraphic brush strokes holdingcolor in the oreront. She developed an originalstyle o decoration by the collage techniquebringing together colored geometrical orms onthese series o works which we may call cut vaseorms. Woodman, achieving orm-decor integrityby the movement o a brush continuously goingaround the vase has created an innite variety ovase orms. The artist, who corresponds to worksproduced by painter Jackson Pollock going aroundthe canvas as i in a ritual, has always emphasizedher internalization. She has continuously renewedher works through her use o color, volumedisplay techniques and decoration. She has takenadvantage o the union o diferent materials in aserious o wall works she produced by placementon canvases painted with Terra sigillata displayedin Max Protetch Gallery. She has used epoxy resin

paint, which is a mixture o two separate materials,orming a resistant plastic material when mixed andceramic in an intertwined manner. (Picture 14)

Resim3Desen

,Kat

,TerraSigillata

,mrekkep

,parain

,14

0x225cm

,2005

Picture3Design

,Paper,TerraSigillata

,ink

,parafn

,140x225cm

,2005


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25 Nisan-30 Haziran 2006 tarihleri arasnda New YorktaMetropolitian Sanat Mzesinde alan Woodmanretrospekti sergisinde, kil boyal kat (Resim 3)veya tuval zerinde yaplm almalarn yanndaGauguin, Bonnard ve Matissein resim almalarndan

etkilenerek gerekletirdii seramik heykelleriyle sanateitlemelerinde st noktada bir baarya ulamtr.

Woodman renkli, bol gneli uzak lkelerin anlarnresmeden 1886 ylnda Chapeletin atlyesindeseramikler reten Gauguinin almalarndan aldesinle, seramik ormlarnn yzeyini sslemitir.Ressamlardan etkiyle yapt seramik almalarndaepoksi reine boya ve vernik kullanan sanat, renkve orm btnln zengin malzeme seimiylesalamtr. (Resim 4)

Post zlenimcilerin ustas olarak kabuledilen Art Nouvea akmnn izgi ritminive ssleme zelliklerini kullanan ressamBonnardn i mekan resimlerinin izleri,Woodmann kesilmi seramik vazoormlarnda birbirine kart renklerlegerek mekana yaylmaktadr. Bol klscak renklerle Bonnardn sakin evii resimlerine gnderme yapan kolajtekniiyle birletirilmi vazolarda, eveait hisler, pencereden grnen baheyleaktarlmaya allmtr. (Resim 5)

In the Woodman retrospective show opened inMetropolitan Art Museum in New York rom April25 to June 30, 2006, Woodman has achieved a topperormance with her ceramic sculptures in art

diversications built under inspiration by Gauguin,Bonnard and Matisses paintings beside her workson clay painted paper (Picture 3) or canvas.

Woodman has decorated the suraces o ceramicorms under the inspiration o the works byGauguin who produced ceramic ware in Chapeletsstudio in 1886, painting the memories o coveredsunny distant countries. The artist, using epoxyresin paint and varnish on her ceramic ware shebuilt under inspiration rom painters, has achievedcolor and orm integrity by a rich material selection.(Picture 4)

The traces o interiorpictures o painterBonnard recognizedas the master o

post impressionistsemploying the linerhythm and decorativeeatures o the ArtNouvea movementspread over the real

space in contrasting colors in Woodmans cutceramic vase orms. Sentiments on home wereattempted to be conveyed through the gardenviewed rom the window in vases joined with thecollage technique, emulating the serene interiorpictures o Bonnard with warm colors ull o light(Picture 5).

Resim 4 Gauguinin Nlerinden ald etkiyle yapt seramik alma, 74x147x28cm, 2005Picture 4 Ceramic work inspired by Gauguins Nudes, 74x147x28cm

Resim 5 Blnm Vazolar-Bonnardn Penceresi adl almann n ve arka yz, 97x100x14.5cm, 2006Picture 5 Divided Vases Front and back o Bonnards Window 97x100x14.5cm, 2006


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Woodmann, i mekan ile d dnya arasndakibirliktelii tayan Blnm VazolarBonnardnPenceresi adl seramik almasnda, (Resim 5)Bonnardn ev ii resimlerinde vurgulad huzurlu,

sakin mekandan manzaraya uzanan grntlerinebire bir gnderme yapmtr. Burada Woodman, rengibezemesel bir anlayla blnm vazolar arasndaki iboluu mekana yayarak kullanmtr.

Fovizm akmnn ncln yapm olan ressamHenri Matisse resimlerinde temel anlatm arac olanrengi ok nemsemitir. Matissein Gauguin ve VanGoghun yaptlarn incelemesi, onu resimde boyutlumekan anlayndan uzaklatrarak, renk hareketleriyletanmlanabilecek yeni bir resimsel mekan araynasrklemitir. 5 Cezayire yapt gezilerden sonra slamsanatnn arabesk, izgisel sslemelerine almalarndaska yer veren Matisse, yalandnda bozulan

sal yznden enerjisini akti tutmak iin, katkesme tekniiyle byk boyutlu kolaj almalarnaynelmitir.

Matissein kat kolajlaryla birlikte, NehirdeYkananlar (Resim 6) adl eseri kendinden sonra

gelen pek ok sanatya (bata Antony Caronunrenkli metal malzemeyle yapt heykellerine) esinkayna olmutur. Bu bayapt daha sonra 2004 ylndaWoodmann yeni yorumuyla l olarak yaplansrl vazo almalarna kaynaklk etmitir. (Resim 7)Woodman bu serisiyle yeil bahe iindeki plaklarnbire bir seramik yorumlamalarn yaparak seramik,resim ve heykel birlikteliinin zenginliine dikkatekmitir.

Woodmann Metropolitian Mzesinde alanretrospekti sergisi iin Michael Duncan, GdlerleSslemek balkl makalesinde Woodmann paraleserlerinde, paralarn nasl yerletireceini belirlerken

dzensiz ormlar arasnda oluacak negati boluklargz ard etmediini, sanatnn vazonun cephesibir araya geldiinde Matissein nlerini anmsatan bir

In her ceramic work titled Divided Vases-BonnardsWindow (Picture 5) bearing the union o theinterior and exterior work, Woodman has emulatedthe images extending rom a peaceul, calm,

interior cool scenery emphasized in Bonnardsinterior pictures. Here, Woodman has used color ina decorative concept by spreading the inner voidbetween vases through space.

Henri Matisse, who has lead the movement oauvism, has emphasized color which is the basictool o expression in his pictures. Matisses analysiso works by Gauguin and Van Gogh has draggedhim to a new search or picturesque space whichmay be identied by color movements, distancinghim rom the three-dimensional concept o spacein paintings.5 Matisse, who requently used thearabesque linear decorations o Islamic art ater his

trips to Algeria, moved to large size collage worksusing the paper cutting technique to keep hisenergy active due to his ailing health.

Alongside o his paper collages,Matisses work titled Bathers by theRiver (Picture 6) has become a sourceo inspiration or many an artistcoming ater him (lead by sculpturesby Antony Caro he made usingcolored metal). This masterpiece haslater become the source or the tripleglazed vase works under Woodmansnew interpretation in 2004 (Picture

7). With this series, Woodman hasdrawn attention to the richness othe union o ceramic painting andart, producing one-on-one ceramicinterpretations o the Nude in a greengarden.

Resim 6 Matisse, Nehirde Ykananlar,1909, 1913 ve 1916Picture 6 Matisse, Bathing in the River 1909, 1913 and 1916

Resim 7 Betty Woodman, Nehirde Ykananlarn yeni yorumu, l, 2004Picture 7 Betty Woodman, New Interpretation o Bathing in the River, Trilogy, 2004


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bahe tablosunun ortaya ktn ama tablonun buseer tuvalde deil kil zerinde olduunu yazmtr.6Duncan, renkleri bolca, neredeyse msriie varanderecede kullanm konusunda Woodmann adasanatlara zellikle de ressamlara zg oto kontrol

mekanizmalarna yaknlndan kaynaklandna dikkatekmektedir. 7 Sanatnn gerek bir renk virtzolduunu vurgulamaktadr.

El yapm kattan tuval bezine, seramikten mekanayaylan duvar sslemelerinde Woodman iki boyuttabirden alan bir sanat olmay srdrmektedir.Bu anlayn Kubist ve Futurist tarzda paralamaylaele alan Woodman, bu iki akmn paral etkileriniseramiklerinde kullanarak srl seramik yzeylerdeepoksi reine boya ve vernik kullanarak eklektikpostmodern bir tavra ynelmitir.

Seramik almalarnda kulland resimsel yaklam

izleyicinin almay tm ynleri ve alaryla alglamamant zerine kuruludur. Yzey zerinde yaratlanplan, hacim, gereklik ve yanlsama srekli bir deiimyaratrken seramii renksel bir yap olarak ortayakarr. Blnm Vazolar: Christmas adl almasndarenklerin ileri ve geri ekilen zellikleri yanstlmtr.almalarnn tamamn tornada biimlendirdiktensonra kestii paralarla yeni bir orm olutururkentornann dngsel hareketinden kaynaklanan izlerigrnr klmaya zen gsterir. Formlar zerindekorunmu olan dngsel hareketler, kesin izgili renkliizgilerle yaratlan planlarn birlikteliinde iki vazoarasnda braklan boluu tamamlarlar. (Resim 8)

On Woodmans retrospective show held inMetropolitan Museum, Michael Duncan has said inhis article titled Decorative Impulse has writtenthat in her multi-part works, Woodman determinesthe set arrangement o components, taking accounto the negative space between their irregularshapes. Here, the three vase ronts collectivelyevoke a garden tableau eaturing depicted potterysurrogates as stand-ins or Matisses nudes.6 Duncanalso draws attention to the act that Woodmansormal extravagance and exuberant use ocolor enable her to transcend the sel-imposedrestrictions that play many contemporary artists particularly painters.7 Duncan underscores that theartist is a true virtuoso o color.

In her wall decorations extending rom hand-made paper to canvas, rom ceramic to space,Woodman continues to be an artist working intwo-three dimensions concurrently. Woodman,handling this concept by a cubist or uturist styleragmentation, has moved toward an eclectic, post-modern attitude using epoxy resin and varnish onglaze ceramic suraces, employing the ragmentedinuences o these two trends.

Her picturesque approach used in her ceramicworks is based on having the viewer perceive thework with all its aspects and angles. The plan,volume, truth and misconception created on the

surace leads to aconstant change,revealing ceramic asa work o color. In herwork titled DividedVases: Christmas,the back and orthpull properties ocolor were reected.She takes care thattraces o the rotarymovement o thewheel are visiblewhen building a

new orm withcut out parts atershaping all herworks on the wheel.Rotary movementsprotected on ormscomplete the gap letbetween two vasesin the union o planscreated with strictcolored lines.(Picture 8)

Resim 8 Mays Grnm, 95x100x20cm, 2004Picture 8 May View, 95x100x20cm, 2004


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Soyut Davurumculuk akmnn heykel alanndancs olan David Smith heykel sanatnn resimsanatyla olan balantsndan hareketle paslanmazelik zerine yazsal ra hareketlerini sunumlayanheykeller retmitir. Woodman, seramik malzemesini

keserek birletirerek renkle bulutururken DavidSmithin almalarndan da azlasyla etkilenmitir.8Seramiin yorulabilirlii, belli slarda piirilirken sertbir malzeme olmasnn verdii olanaklarla renk ve ormaraylarn seramik, resim, heykel sanatnn birletiinoktalarda kullanmaya devam etmitir.(Resim 9, 10, 11, 12)

David Smith, who is the sculpture leader o themovement abstract expressionism has createdsculptures presenting script like brush movementson stainless steel starting rom the link o the art

o sculpture to the art o painting. Woodman washighly inuenced by David Smiths works whencutting ceramic materials bringing them togetherwith color.8 She has continued to use her searchor color and orm at the junction o painting andsculpture, thanks to kneadability o ceramics andthe capability aforded by its being a hard materialwhen red as specic temperatures.(Picture 9, 10, 11, 12)

Resim 9 Trabzanl Rlye Vazo,160x228x28cm, 1997Picture 9 Balustrade Re lie Vase,160x228x28cm, 1997

Resim 10, Bahe Duvar, 140x135x30cm, 1999Picture 10, Garden Wall, 140x135x30cm, 1999

Resim11 Etrsk ls, 47x74x18cm, 1988Picture 11 Etruscan Trilogy, 47x74x18cm, 1988

Resim 12 Portekiz Vazolar, l, 69x221x18cm, 2005Picture 12 Portuguese Vases, Trilogy, 69x221x18cm, 2005


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Zaman zaman Amerikadan ayrlarak talyada dayaantsn srdren Woodman, bu lkenin Barokdnem mimarlndan da esinlenmitir. Binalarnmimari elemanlar olan stunlar ve yksek saaklarnevreledii kirilerin dalmndan etkilenmitir. Klasik

mimaride rastlanmayan kvrmlardan, erilerdenetkilenerek oluturduu terra sigillata ile boyad vetuvallere yerletirmek suretiyle gerekletirdii 2006tarihli 6 metrelik Roma Panosu adl almasnda(Resim 13), ssleme elerini esnek bir yap iindekullanmtr. Dekorati ahap ra zerine cephesi dz adet vazo yerletirerek, bu dz cepheler zerine desiyah beyaz vazolar resmederek mimariyle olan derinbalantsn gstermitir. talyan Barok mimarisininssleme zelliklerine olan youn ilgisi Woodmannsanatnda saysz almann ortaya kmasna yolamtr.

Woodman, who lived in Italy rom time totime, leaving America, was also inspiredby the Baroque period architectureo this country. She was impressed by

the distribution o columns and beamssurrounded by high eaves which are thearchitectural elements o buildings. Shehas used decorative elements in a exibleconguration in her work titled RomanPanel 6 meters long dated 2006 which shepainted with terra sigillata and installed oncanvases inspired by curves not encounteredin classical architecture. By placing threevases with plain suraces on three decorativewooden shelves and depicting black andwhite vases on such plain ronts, she hasdemonstrated the deed connection witharchitecture. Her intense interest in thedecorative aspects o Italian Baroquearchitecture has caused countless works toappear in Woodmans art.

Resim 14 Roma resimlerinden yaplan seramik alma, 249x218x11cm, 2006Picture 14 Ceramic work made o Roman pictures, 249x218x11cm, 2006

Resim 13 Betty Woodman, Roman Panosu, 605x238x33.5cm, 2006Picture 13 Betty Woodman, Roman Panel, 605x238x33.5cm, 2006


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Eklektizmi sanatn besleyen bir tasarm yntemi olarakkullanan Woodman temelsiz, geliigzel seilmi, arkl

kkenlerden gelen imgeleri taklit olarak retmemitir.Sanat tarihinin nemli bayaptlarndan ald etkileriyeniden retme olarak deil bir eit renmeyntemi olarak semitir. Soyuttan, geometriye,para-btn ilikisi zerine, renk kullanmndakicesur uygulamalaryla, desenleri ve yzey zerindeboyama teknikleriyle ve plan araylaryla adaresim sanat iin de salam bir temel kurmutur.Sanatlara yaklamlarnda beslenme eitlii veeserlerinde onlar birletirme yetenei onun usta birsanat olmasn salamtr. 76 yan geride brakanWoodman, seramik dilini heykel, resim ve mimaridenald spesik etkilerle sade, silindirik ormlar, bysel,barok kvrmlarla hareketlendirirken, yzey zerindeserbest ra vurularn zgrce kullanarak, seramiinsnrlarn genileterek antsal seramik uygulamalarylahep nde kalmaya devam edecektir.

Woodman, using eclecticism, a design techniquenurturing her art, has not produced unounded,randomly selected symbols rom diferent originsas imitations. She has selected the inspirationsshe got rom signicant masterpieces o historyo art as some type o a learning technique not asa method o reproduction. She has established asound oundation or contemporary art o paintingby her brave applications in use o color rom theabstract to geometry on part/whole relationship,her designs and surace painting techniques andsearches or plans. The nurturing diversity in herapproaches to art and her talent or joining themin her works have allowed her to become a masterartist. Woodman, who has let 76 years behind, shallalways continue to stay right at the ront with hermonumental ceramic applications using her reebrushstrokes liberally on the surace and expandingthe limits o ceramics while activating the languageo ceramics with plain cylindrical orms and magical

baroque curves under specic inuences she gotrom sculptures, paintings and architecture.

Resim 15 Betty Woodmannn talyadaki atlyesindenPicture 15 From Betty Woodmans studio in Italy


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Resim Kaynakas / Picture BibliographyResim 1. Betty Woodman, KOPLOS, Janet, DANTO, Arthur C., SCHWABSKY, Barry, The Monacelli Pres, 2006,s. 89Resim 2. a.g.e. s. 55.Resim 3. a.g.e. s. 139Resim 4. Betty Woodman: Teatros,.Thtres.Theatres, Skira, 2005, s. 109.Resim 5. Art in America, Kasm 2006, s. 196Resim 6. http://www.artchive.com/artchive/M/matisse/bathers_by_a_river.jpg.htmlhttp://www.artchive.com/artchive/M/matisse/bathers_by_a_river.jpg.html, (24.09.07)Resim 7. Betty Woodman, KOPLOS, Janet, DANTO, Arthur C., SCHWABSKY, Barry, The Monacelli Pres, 2006,s.262Resim 8. a.g.e. s. 234Resim 9. a.g.e. s. 17Resim 10. a.g.e. 185Resim 11. Betty Woodman: Teatros.Theatres.Theatres, Skira, 2005, s. 86Resim 12. a.g.e. s. 111Resim 13. Art in America, Kasm 2006, s. 198Resim 14. Betty Woodman: Teatros,.Thtres.Theatres, Skira, 2005, s. 125Resim 15. Betty Woodman, KOPLOS, Janet, DANTO, Arthur C., SCHWABSKY, Barry, The Monacelli Press, 2006, s. 199Resim16. Betty Woodman: Teatros.Thtres.Theatres, Skira, 2005, s. 30

Picture 1. Betty Woodman, KOPLOS, Janet, DANTO, Arthur C., SCHWABSKY, Barry, The Monacelli Pres, 2006, p. 89Picture 2. ibid. p. 55.Picture 3. ibid. p. 139Picture 4. Betty Woodman: Teatros,.Thtres.Theatres, Skira, 2005, p. 109.Picture 5. Art in America, November 2006, p. 196Picture 6. http://www.artchive.com/artchive/M/matisse/bathers_by_a_river.jpg.htmlhttp://www.artchive.com/artchive/M/matisse/bathers_by_a_river.jpg.html, (24.09.07)Picture 7. Betty Woodman, KOPLOS, Janet, DANTO, Arthur C., SCHWABSKY, Barry, The Monacelli Pres, 2006, p.262Picture 8. ibid. p. 234Picture 9. ibid. p. 17Picture 10. ibid. 185Picture 11. Betty Woodman: Teatros.Theatres.Theatres, Skira, 2005, p. 86Picture 12. ibid. p. 111

Picture 13. Art in America, November 2006, p. 198Picture 14. Betty Woodman: Teatros,.Thtres.Theatres, Skira, 2005, p. 125Picture 15. Betty Woodman, KOPLOS, Janet, DANTO, Arthur C., SCHWABSKY, Barry, The Monacelli Press, 2006, p. 199Picture16. Betty Woodman: Teatros.Thtres.Theatres, Skira, 2005, p. 30

Kaynaka / Bibliography:KOPLOS, Janet, Echoes and Shadows, Betty Woodman,, The Monacelli Press, New York, 2006, s.24,Sanat Dnyamz: Avant-Garde, 1945-1995, Yap Kredi Yaynlar, Bahar 1995, Say 59, s. 123VECCHIO, Mark Del; Postmodern Ceramics, Thames&Hudson, 2001, s. 59ANILANMERT, Beril, RONA, Zeynep, Eczacba Sanat Ansiklopedisi,Cilt 3 Seramik, s. 1636P Sanat Kltr Antika, 20y y Sanat, Yzyl Banda Bir Renk D evrimi, Fovizm, Tessa Kostrzewa, ev. Zeynep Rona, K 2000, Say 16, ,s.88DUNCAN, Micheal Woodmans Decorative Impulse, Art in America, Kasm 2006, 193-199. s. 193 a.g.m. 194

Betty Woodman: Teatros,.Theatres.Theatres, adl kitaptan, HENRIQUES, Paul, A Critical Look at Her Qeuvre, Skira Yaynlar, 2005, saya 66-72, s. 7 1

Resim16BettyWoodman

,atlyesinde

,talya

,Antella

,2005

Picture16BettyWoodman

,inherstudio

,Italy

,Antella

,2005

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