##Turkishartist
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mdstamper.bsky.social
“Otoportre (Self-portrait)” by Mihri Müşfik Hanım (Mihri Rasim) (Abkhazian Turkish) - Pastel on canvas / c. 1910s - İstanbul Modern Sanat Müzesi Collection (Türkiye) #WomenInArt #WomensArt #WomanArtist #WomenArtists #art #artText #TurkishArtist #MihriMusfik #SelfPortrait #MihriHanım #MihriRasim
Made by Mihri Müşfik Hanım, one of the earliest professional women painters active in late Ottoman İstanbul, this painting functions as self-fashioning. An enveloping dark garment frames the artist’s face as the site of agency that is composed, observant, and unperformative. Pastel lets her build features through breath-like transitions rather than hard outlines, so presence arrives as atmosphere with quiet insistence rather than spectacle. She is a seated young woman facing us against a warm, brown, cross-hatched backdrop. Her skin is rendered in pale, velvety pastel tones. Dark brows and large, shadowed eyes hold a steady, quiet gaze. Soft black hair falls in loose waves across her forehead. She wears a deep navy-black hood that swallows her shoulders and lap, opening to a light blouse at the chest and a short strand of pearls. A pale forearm emerges at the lower right, while the other hand is only lightly indicated in the dark. The edges dissolve into smoky shadow, making her feel half-present like a memory held in charcoal-soft light. The exact year of creation isn’t recorded, but the mood of poised self-possession resonates across eras with what we know of Mihri’s life in motion. Born into an elite Ottoman family, she trained early with the court painter Fausto Zonaro before traveling to Rome and Paris in the early 1900s for an education that sharpened her drawing and portrait craft and, just as crucially, widened her sense of what a woman artist could be. When she returned to İstanbul, she pushed against institutional barriers by teaching, organizing, and helping establish formal art education for women … eventually leading the School of Fine Arts for Girls (İnas Sanayi-i Nefise Mektebi) and insisting her students work from life and outdoors. Seen today in İstanbul Modern’s collection (Semra Karamürsel donation), the work holds onto Mihri’s modernity as a woman claiming the artist’s right to look, to choose her own image, and to endure on her own terms.
December 14, 2025 at 12:30 AM
goreme1990.bsky.social
Don't miss #ElifUras’ small but perfect exhibition at @GALERIST_TR in #Istanbul. #turkishartist “Earth on their hands” celebrates women’s labour as acts of power. Her women dance, shimmering gold & joyfully naked, symbolising unrecognised worth of our labour. Last day Nov 8.
www.galerist.com.tr
November 3, 2025 at 6:20 AM
fatihsungurtekin.bsky.social
Merhabalar🍀
Lacy 11 (2024)

Tuval üzerine karışık teknik
25x35 x 2 cm
Fatih Sungurtekin, Türkiye

Eseri daha yakından incelemek ve satın almak için linke tıklayın: www.artmajeur.com/fatih-sungur...

#originalartworks #fatihsungurtekin #turkishartist #modernart #artlovers #artgallery #artdealers
August 4, 2025 at 8:11 PM
mdstamper.bsky.social
Mavi Şalvarlı Kız (The Girl in the Blue Shalwar) by Feyhaman Duran (Turkish) - Oil on canvas / 1948 - Türkiye İş Bankası Resim Heykel Müzesi (İstanbul) #WomenInArt #art #ArtText #artwork #FeyhamanDuran #TürkiyeİşBankası #PortraitofaWoman #TurkishArt #TurkishArtist #blueskyart #shalwar #fashion
The "Girl in Blue Shalwar" by Turkish artist Feyhaman Duran is a unique symbol of innocence. In his largest portrait of a woman by the artist, a young woman with an upright posture is depicted, seated—on an unseen armchair—in front of a screen decorated with botanical motifs. Her clothing draws our attention: she wears bright turquoise shalwar (traditional baggy trousers) paired with a üç etek—a three-skirted overgarment in chickpea beige, decorated with small scattered motifs in the same turquoise—and a crinkled blouse (bürümcük gömlek) trimmed with turquoise and orange embroidery. Her slim waist is cinched with a silver belt. The üç etek is widely used in traditional local dress, though it is not unique to Anatolia (aka Asia Minor or the large peninsula that forms the majority of modern-day Türkiye); it was once worn in the Ottoman palace as well. The young woman has draped a thin red scarf over her hair, likely serving as an accessory. Her face bears a calm, determined, yet content expression. Her gaze is fixed into the distance—as if toward the unknown. Her eyes harmonize with a faint smile on her lips, silently conveying a sense of hope that, while not overtly emphasized, is undeniably present. This is no arbitrary outfit—it is a carefully composed appearance made up of thoughtfully chosen garments. It seems less like the attire of an ordinary Anatolian woman and more like something that would be worn by a woman of higher social standing; yet, it still feels familiar and easily understandable to the general public. Born in Istanbul in 1886, Duran studied art in Paris at the Académie Julian and the Académie des Beaux-Arts in Fernand Cormon’s studio. He returned to Türkiye in 1914. He was appointed teacher of drawing at the Turkish School of Fine Arts in 1919. He was also a founding member of the Union of Fine Arts. In 1933, he joined the staff in the painting department at the school, where he remained until his retirement in 1951.
July 28, 2025 at 2:43 PM
fatihsungurtekin.bsky.social
Merhabalar🍀
Lacy 10 (2024)

Tuval üzerine karışık teknik
35 x 44 x 2 cm
Fatih Sungurtekin, Türkiye

Eseri daha yakından incelemek ve satın almak için linke tıklayın:

www.artmajeur.com/fatih-sungur...

#turkishartist
#SanatçıFatihSungurtekin
#tablo
#art
#artdealer
#modernart
#arte
July 23, 2025 at 10:57 PM
mdstamper.bsky.social
Güzin Duran Portresi (Güzin Duran Portrait) by Feyhaman Duran (Turkish) - Oil on canvas / c. 1929 - Türkiye İş Bankası Resim Heykel Müzesi (Istanbul) #WomenInArt #art #ArtText #WomensArt #Duran #GüzinDuran #FeyhamanDuran #PortraitofanArtist #OilPainting #smile #laugh #spouse #TurkishArtist #bskyart
Turkish artist Feyhaman Duran always lovingly portrayed his wife and fellow artist, Güzin Duran. In this portrait signed in old script as “Feyhaman 29,” he captured Güzin with her head slightly tilted to one side, her auburn hair cascading in waves over her shoulders. She looks at us sincerely from beneath lowered eyelids, smiling warmly, bringing her full vitality to the canvas. She is both naïve and coquettish, if not sleepy, peeking at us from above, reminiscent of a sweet moment of banter between a wife and her husband. Güzin Duran was a talented Turkish painter and calligrapher. She was one of the first graduates of the School of Fine Arts and went on to produce many oil paintings, landscapes, and still life paintings, as well as calligraphy panels and calligraphy. There are more than 200 of her watercolor paintings in the Topkapi Palace Museum Painting Collection (Topkapı Sarayı Müzesi Resim Koleksiyonu'nda). She was born in 1898 in Istanbul, in the house of her grandfather, calligrapher Hacı Yahya Hilmi Efendi, in Süleymaniye. Her father was Naim Bey, one of the Chief Advisors of the Military Court of Cassation, and her mother was Naciye Hanım, one of the founders of the Esirgeme Association. The famous Turkish music theorist Rauf Yekta Bey was her uncle. She grew up privileged to take music, ornamentation, and painting lessons at an early age. She entered the İnas Sanayi-i Nefîse Mektebi , which trained important artists during World War I. In 1922, she won the European competition organized by the Ministry of Education and earned the right to be sent abroad for education, but she did not go because she was engaged to İbrahim Feyhaman, who was her teacher at the school at the time. They married on September 25, 1922. She exhibited her personal exhibition at the Fine Arts Academy in 1937. In addition to her painting, she worked as an art teacher for 37 years at 4 different girls schools in Istanbul.
July 8, 2025 at 4:20 AM
fatihsungurtekin.bsky.social
(Burayı arada renklendirelim)

Herkese merhaba,
Lacy 2 (Dantelli2), Fatih Sungurtekin, Türkiye, Tuval Üzerine Yağlıboya, Boyut: 29 G x 35 Y x 2 D cm.

www.saatchiart.com/en-tr/fatihs...

#Sanat #Contemporaryart #FatihSungurtekin #KültürelMiras #TurkishArtist #art #Saatchiart #resim #muğla #turkey
April 7, 2025 at 4:13 PM
mdstamper.bsky.social
Deniz Kıyısında Kız (The Girl on the Beach) by İzzet Ziya (Turkish) - Oil on hardboard / 1920 - Sakıp Sabancı Museum (Istanbul, Türkiye) #womeninart #oilpainting #art #TurkishArt #SSM #womensart #İzzetZiya #IzzetZiya #TurkishArtist #SakıpSabancıMuseum #fashion #style #SakıpSabancıMüzesi #fineart
Some resources list this wonderful painting of a "Girl on the Seashore" by Turkish artist İzzet Ziya is sometimes listed as being completed in 1917; however, it is noted as 1920 as part of the collection of Sabancı Üniversitesi Sakıp Sabancı Müzesi (Sabancı University's Sakıp Sabancı Museum). Whichever year, Ziya has created a composition that conveys the era and the mood of a thoughtful woman in a light-colored coat, leaning on a rock by the sea. She leans forward from the trail with her body bent towards the water resting her elbows on large rocks along the path down to the beach. The rocks and the sea are the focal points, creating a backdrop that draws the viewer's attention to the figure who appears to be in her late twenties or early thirties. She has light, shoulder-length hair under a white cap and is wearing a white coat, white skirt, white scarf, white stockings, and, yes, even white short-heeled shoes. Only the black hem of an underskirt (or perhaps "modern bathing suit" and a closed bright red umbrella (leaning against the rocks) adds a touch of color to her attire. Her expression is pensive, and she seems to be contemplating the ocean-side view watching waves roll in. Ziya was the son of an eminent Istanbul family. He graduated from the School of Fine Arts in 1903 and went on to pursue his studies in Paris, working under Ottoman statesman Mehmet Galip Bey. After returning to Istanbul, Ziya worked as an illustrator and cartoonist for magazines. Following the proclamation of the Second Constitution in 1908, Ziya was appointed as court secretary, one of the highest posts at the palace, and succeeded Zonaro as court painter. He participated in the annual Galatasaray art exhibitions. It turns out Ziya was actually the last Ottoman court painter. These painters were selected by the sultan and, as well as painting, they served in various functions at court, as art instructors, head of protocol, and in charge of relations with foreign painters.
March 14, 2025 at 6:08 AM
ce-jaxon.bsky.social
Day 9: The Museum of Women in the Arts asks us to name at least 5 women artists. For #WomensHistoryMonth, I am naming 1 a day.

#SelmaGurbuz 2/2
#TurkishArtist
#Modernist
#Painter
#Sculptor
#WomenInArt
@artherstory.bsky.social
March 9, 2025 at 8:11 PM
ce-jaxon.bsky.social
Day 9: The Museum of Women in the Arts asks us to name at least 5 women artists. For #WomensHistoryMonth, I am naming 1 a day.

#SelmaGurbuz 1/2
#TurkishArtist
#Modernist
#Painter
#Sculptor
#WomenInArt
@artherstory.bsky.social
March 9, 2025 at 8:09 PM