Ulakbilge - Sosyal Bilimler Dergisi
Cilt 8, Sayı 54  2020/11  (ISSN: 2148-0451, E-ISSN: )
İbrahim ÇOBAN

NO Makale Adı

Hamza İnanç's art can be evaluated as his paintings which he performed in Turkey in 1947-1965, which he performed in figurative understanding in Paris, which he performed in dramatic abstract understanding and his paintings which he performed after 1973. His painting style in landscape style painting, which is the interpretation of the artist's own imaginations, has not changed. Even in the abstraction period, a hidden odor of nature can be perceived. The effect of the continuous impression can be seen rather than the instantaneous impressions of a certain time period on nature and things in his paintings. The abstraction motive in his works does not greatly change the qualification of the impression. A painting that moves from nature is contented with the least of the formations that can be abstracted from nature within the framework of general approaches. However, such anxiety was enough to distinguish him decisively from the mediocre business of similar trends. Hamza İnanç has benefited neither more nor less from the impressionistic sensibility that persists in today's painting to a certain extent, as only an artist and nature observer can do. The fact that the nature impressions consist of a continuous observation provided an environment description to mix into the paintings at the same level and in the same direction with this impression. It can be said that the artist aimed to bring the hidden beauties in nature to the foreground, instead of the ugliness in nature, the motifs and subjects that give people sadness and pessimism. Hamza İnanç tried to develop the living aspects of impressionism in his landscape paintings some of which he created from Ankara and its surroundings, some of my views of the Black Sea Region, and he researched the possibilities of a contemporary impressionism. He has been become one of our artists who can combine with small halves on an impressionist line, but who do not hesitate to pursue his personal concerns.Haraza İnanç’s provided services to the art of painting and its place in Contemporary Turkish Art were examined in this study within the data obtained after literature scanning and qualitative research methods. It is thought that Hamza İnanç's works as he performed under his artist identity will contribute to the artist in the context of contemporary art in creating an original language of art and in interpreting plastic values together.

Keywords: Hamza İnanç, Contemporary Turkish painting, Impressionism