}

EL/LE

Marmara University, Faculty of Fine Arts
Exhibition of Graduation Projects, Academic Year 2005 - 2006

July 17 - October 1, 2006

For the artist, there is a particularly productive relationship between the hand and the object. The hand must wield the brush masterfully; its skill must predominate when shaping the mass of clay. The fingers must find the way to elicit the finest sound from the strings of the violin, the keys of the piano. Here the hand searches for thought and feeling; the instant it finds what it has sought – in spite of its appetite – it must rise from the banquet table of sound or color or form, otherwise, like every other thing that loses its equilibrium, it becomes subject to damage.

The hand of the designer takes heed of the relationship between hand and object. Perhaps his relationship with the object develops as it passes through the filter of his relationship with the hand, because in the person-object relationship, holding and using are significantly predominant. But whether we are discussing art or design, if there is no relationship with creative potential in the relationship between matter and product, the hand is nothing more than a useful tool. From this aspect, the hand is the confessor of the heart, the brain and the aggregation that anticipates the creative potential...

The collaboration between the Fine Arts Faculty of Marmara University and the Pera Museum was based upon the condition that the ten divisions of this Faculty would be included in the exhibition and that it would be comprised from the works of the graduating class. It was certain that this interdisciplinary exhibition would display an energetic and extremely colorful totality. It was important to present the exhibition within the framework of a shared theme that would unify these varying techniques and disciplines. Ultimately the discussions on this subject led to the choice of the title EL/LE ,because of the breadth of its meaning.

In the EL/LE exhibition, painting, sculpture, graphic arts, ceramics, industrial products, interior design, textiles, photography and cinema come together in the opulence generated by the traditional arts of the hand. The “hand” is interpreted by the hands of artists and designers. What aspects of the hand will be beautified through the abundant energy of these creators? This exhibition provided the conclusive answer to that question.

Exhibition Catalogue

EL/LE

EL/LE

For the artist, there is a particularly productive relationship between the hand and the object. The hand must wield the brush masterfully; its skill must predominate when shaping the mass of...

From the Age of Reason to the “Tortoise Trainer”

From the Age of Reason to the “Tortoise Trainer”

A Salon exhibition held in the Grand Palais in Paris on May 1, 1906 showcased an Ottoman painting. This was Osman Hamdi Bey’s famous “Tortoise Trainer”. 

Portrait of Martín Zapater (1797)

Portrait of Martín Zapater (1797)

Martín Zapater y Clavería, born in Zaragoza on November 12th 1747, came from a family of modest merchants and was taken in to live with a well-to-do aunt, Juana Faguás, and her daughter, Joaquina de Alduy. He studied with Goya in the Escuelas Pías school in Zaragoza from 1752 to 1757 and a friendship arose between them which was to last until the death of Zapater in 1803. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.