The charm of Istanbul – Sinan Genim
The large book called “Istanbul on Canvas”, used in applications from the fortieth years of Antik A.Ş., describes the pictures of Istanbul given to its owners during these forty years of life.
Antoine de Favray, “Istanbul Panorama”
Painters are people that we look at but show what we see. Auguste Boppe (1862-1921) “Les Peintres du Bosphore au Dix-Huitième Siècle / XVIII. To the preface of the book named “Bosphorus Painters of the 19th Century”; “How centuries in the past are prepared for a painter while designing the light, color and nature, colors and natures in the East, which is now quite taken for granted by the users”. Bosphorus Istanbul, which must be real, has been inspiring artists for a very long time. From time to time, ambassadors who came to the imperial capital, or their painters and engravers, or many, made numerous drawings.
We are in Tabula Peutingeriana with the first Istanbul painting. Later, products such as Buondelmonti and Vavassore continued on this path and exhibited many Istanbul panoramas and exhibits. Only the “big size ones” from this small album are in great demand.
Halil Pasha, “Göksu Creek”
light and color harmony
Celebrating its 40th year of education in the past days, Antik A.. Antoine de Favray’s 1770 1 two Istanbul panoramas and one Tarabya oil painting reflect the color and natural beauty of Boppe at the speed of light. Before photography, these panoramas fascinate people with their little harmony of light and color. The area up to Galata is included in the Istanbul panorama, which was probably made in the plan of the French Embassy in Beyoğlu. On the Anatolian side, a part of Üsküdar, the Maiden’s Tower and Kadıköy and Moda settlements can be seen. With this feature, very few of us choose the systems of Üsküdar Palace. On the right side of the painting, Saray-ı Hümayun, Hagia Eirene and Hagia Sophia are depicted. Intensive settlement march of Sur-u Sultani. In the coastal section of the Palace-ı Hümayun play, Sur-u Sultani, the Sepetçiler Summer Palace and the Yalı Mansion are almost as clear as a photograph. In the Sarayburnu region, we know that it could be built by Sultan Mahmud I. There are palace structures belonging to the Top Beach Palace, which burned on August 12, 1862 and continues in the space above. In the Tarabya painting of 1770, there are women sitting and walking around at the prices of a sold French Embassy, and a wonderful waterside mansion, two later. It is very important to visit the boats in the sea with a vehicle that draws every detail with a ground vehicle. In written sources, we see that, unlike the receiver, the boat in the foreground has six pairs of rowers (pp. 22-23).
65×150 cm, which belongs to Mellling. The oil painting on canvas in size does not contain much detail. There are too few details to compare with Melling’s engravings. The interesting structure in this painting is Selimiye Barracks on the ridges of Üsküdar.
Preziosi’s pictures
There are five paintings by Amadeo Preziosi in the book. One of the very important things that can benefit from getting information about the products that can be bought out of need, which is a need of the 1851 “Grand Bazaar” painting. Although it will be tried to describe a life that can be planned and explained so much, in a way that can never be explained. The other two Premise tables are a necessary play of light. The Selimiye Mosque and the Barracks, the palace sold with Hümayun, which is seen in the background of the painting named “Conversation”, are expressed with delicate lines. The painting by Preziosi as “Piyer Loti” is misnamed. In this picture drawn from the Nafi Baba Lodge, the right vehicle of Rumelihisarı, the sign systems of the Blood settlement, the Yeniköy settlement on the left and its settlement on the background road can be seen. If you look carefully, Beykoz Pavilion also found its place in the picture (p. 30).
The background of Felix Ziem’s paintings is a collage, and the efforts of Favray and Preosi to reflect a real image are not seen in Ziem. It is easy to recognize the Beyazıt Yenit Tower, but the Süleymaniye Mosque, which is drawn very large, is too exaggerated in proportion, although it reflects the silhouette.
Nazmi Ziya, “Anadoluhisarı and Göksu Creek”
our artists
If a painting that was not accepted as official before is Alberto Pasini’s “A Calm Afternoon at the Istanbul Mansion” and an 1876 oil painting (p. 39). is something important. XIX. It is seen that a part of this section is open to the south when it is designed for a new building in a completed state. This part of Sedad Hakkı Eldem’s divan house is closed to the garden and there is a restitution attempt. It would be useful to try a new restitution for this painting.
A large part of the collection of paintings by many painters will be our selections. Armenian painters such as Çıracıyan, Civanyan, Yazmacıyan are a possible series of anonymous paintings. Primitives such as the Honorary Captain, Halit Naci, Bahriyeli İsmail Hakkı, Tahsin from Diyarbakır, as well as the paintings of the pioneers of the Turkic such as Süleyman Seyyit, Halil Pasha, Hüseyin Zekai Pasha, Hoca Ali Rıza and the Istanbul of a period of the following years are lined up. Books have a large section that tells the story the editors of the books are told. Who is who, what he has done in history… This is a must-see book for those who are interested in the art of painting and for those who love Istanbul. First of all, I would like to thank Kıymet Giray, who brought this book to us, to Artam Family and everyone who contributed.