İdil Sanat ve Dil Dergisi
Cilt 12, Sayı 106  2023/6  (ISSN: 2146-9903, E-ISSN: 2147-3056)
Mehmet Cihan GEZEN, Ahmet DALKIRAN

NO Makale Adı

From the Einstein’s theory of relativity in 1905, physicists accept that there are four dimensions in the world. Three dimensions (width, length, depth) in the material world keep the relationship between every creature in the nature along with the “time” which is accepted as a fourth dimension. Simultaneity, however, means the encounter of the two or more cases in the time which may contain the same or similar concepts except causality. In painting art, especially simultaneous spaces which is created by fracturing the shapes in the Cubism movement used by Futuristic painters to show action (motion) later. With the influence of the accumulations experienced in Europe, the simultaneous motion concept in Turkish painting occurred with a tendency of corrupting analytically and exhibiting simultaneities on the same surface by Group D artists after Republican era because of the concurrence for modernization goals of Republic. Within the research scope, Turkish artists, who use the simultaneous motions as an expression in their works and compose works in between 1923-2015, are analyzed and Ergin İnan, Ferruh Başağa, Mehmet Özer, Yüksel Arslan, Mustafa Albayrak, Lale Altınkurt and Ayhan Taşkıran’s work samples, that simultaneous motion is noticed consistently in, are handled within the thesis limitedness. Because of the lack of the surveys about that field, it is aimed to contribute literature for concerned researchers. Qualitative research method and techniques are used in that study which is based on overall scanning model. “Document review and interview“ methods are exercised to collect qualitative data. “Artist interview form“, tape recorder and camera are used as a data collect devices.
Keywords: Painting, simultaneity, motion, simultaneous motion.