“On the Spot” Online Exhibition Tour

Teachers

Teachers who take an online guided tour of the exhibition titled On the Spot: Panoramic Gaze on Istanbul, a History learn about the displayed artworks. The show allows teachers to study the circulation of the panorama form and representation style in the Ottoman Empire and Europe through a diverse selection of materials, including not only paintings, prints, and photographs but also ephemera and archival documents. Moreover, they have the opportunity to discover ways to efficiently guide their students through the exhibition and explore activities suitable for different age groups. 

Duration: 40 minutes
Related Exhibition: On the Spot: Panoramic Gaze on Istanbul, a History

The event that will take place via the Zoom Meeting application is free.
Groups of at least 10 and maximum 80 people and reservations are required.

For more information and reservation: ogrenme@peramuzesi.org.tr

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History of a Khanjar

History of a Khanjar

Henryk Weyssenhoff, author of landscapes, prints, and illustrations, devoted much of his creative energies to realistic vistas of Belorussia, Lithuania, and Samogitia. A descendant of an ancient noble family which moved east to the newly Polonised Inflanty in the 17th century, the young Henryk was raised to cherish Polish national traditions.

The Search for Form

The Search for Form

A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.

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’.