Printing Bright Patterns

School Groups

Did you know that some stones found in nature are very valuable? What could these stones be used for, with their eye-catching color and shine? We will take a closer look at artist Kıymet Daştan’s work consisting of 15 artificial stones, which she made by melting CDs. In our workshop, we will create unique patterns inspired by the abstract patterns of natural stones and crystals found in various shapes and colors in nature by using watercolor and cling wrap. In the workshop, we will tap into our imagination and creativity while improving our hand-eye coordination. 

Materials
Paper
Cling wrap
Watercolor
Water container
Watercolor brush 

Weekday Online Learning Program
Tuesday, Wednesday, Thursday, Friday

10:00-10:30
10:45-11:15
11:30-12:00

Per-person participation fee for Online Guided Tour and Workshop for private schools: 6 TL
Online Guided Tour and Workshop is free for public schools. 

Reservation is required for groups, which should include no less than 10 and no more than 60 participants. After the reservation is confirmed, the workshop link will only be sent to the e-mail address used for registration. 

Related Exhibition: Crystal Clear

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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’.