🎨Non-Western Modernisms Unit 8 – Turkish Modernism: The D Group's New Vision

Historical Context

• The D Group emerged in the early 20th century during a period of significant social and political change in Turkey
• Formed in the aftermath of the Ottoman Empire's collapse and the establishment of the Turkish Republic in 1923
• Influenced by the modernizing reforms implemented by Mustafa Kemal Atatürk, who sought to westernize and secularize Turkish society
  • Reforms included the adoption of the Latin alphabet, Western legal codes, and the promotion of modern education
• Coincided with a growing interest in Western art and culture among Turkish intellectuals and artists
• Reflected a desire to break away from traditional Ottoman artistic conventions and embrace modern European aesthetic principles
• Operated within a climate of nationalism and a search for a new Turkish identity that synthesized Western influences with local cultural heritage
• Benefited from increased exposure to international art movements through travel, exhibitions, and publications

Key Figures and Artists

• The D Group was founded in 1933 by a group of progressive Turkish artists who sought to revolutionize the country's art scene
• Key founding members included Abidin Dino, Cemal Tollu, Nurullah Berk, Zeki Faik İzer, and Elif Naci
  • Abidin Dino (1913-1993): Painter, illustrator, and intellectual who played a central role in the group's formation and theoretical development
  • Cemal Tollu (1899-1968): Painter known for his geometric abstractions and contributions to the group's manifesto
• Other notable members and associates included Fahrelnissa Zeid, Bedri Rahmi Eyüboğlu, and Sabri Berkel
• Many of the artists had studied abroad in Europe, particularly in Paris, where they were exposed to modern art movements such as Cubism, Constructivism, and Expressionism
• The group also included writers, poets, and critics who contributed to the intellectual discourse surrounding modernism in Turkey
• Membership was fluid, with artists joining and leaving the group throughout its existence

Artistic Principles of the D Group

• The D Group sought to create a distinctly Turkish form of modernism that synthesized Western artistic principles with local cultural elements
• Rejected the mimetic naturalism and orientalist tendencies of earlier Turkish art in favor of a more abstract and expressive approach
• Emphasized the importance of formal experimentation, innovation, and individual creativity
  • Encouraged artists to develop their own unique styles and techniques rather than adhering to a single aesthetic doctrine
• Promoted the idea of art as a means of social and political engagement, reflecting the progressive ideals of the Turkish Republic
• Believed in the democratization of art and the need to make it accessible to a wider public through exhibitions, publications, and educational initiatives
• Advocated for the integration of art into everyday life, including the design of public spaces, buildings, and consumer goods
• Sought to establish a professional and institutionalized art scene in Turkey, with a network of galleries, museums, and art schools

Stylistic Characteristics

• The D Group's artistic output was characterized by a diverse range of styles and techniques, reflecting the individual approaches of its members
• Common elements included a focus on geometric abstraction, simplified forms, and bold color palettes
  • Influenced by European avant-garde movements such as Cubism, Constructivism, and De Stijl
• Many works featured flattened, fragmented, and overlapping planes, creating a sense of dynamism and spatial ambiguity
• Artists often incorporated local motifs, patterns, and symbols drawn from Turkish folk art, calligraphy, and Islamic architecture
  • Sought to create a modern visual language that was rooted in Turkish cultural heritage
• Experimented with various media, including painting, sculpture, printmaking, and photography
• Some artists, such as Fahrelnissa Zeid, developed a more expressive and gestural style, influenced by Abstract Expressionism
• Others, like Cemal Tollu, focused on pure geometric abstraction, creating compositions of intersecting lines, shapes, and colors

Major Works and Exhibitions

• The D Group held its first group exhibition in 1933 at the Mimoza Art Gallery in Istanbul, which showcased the works of its founding members
• Abidin Dino's "Abstract Composition" (1933) exemplified the group's early experiments with geometric abstraction and simplified forms
• Cemal Tollu's "Geometric Composition" series (1930s) explored the interplay of lines, shapes, and colors in a non-representational manner
• Fahrelnissa Zeid's large-scale abstract paintings, such as "My Hell" (1951) and "Fight Against Abstraction" (1947), demonstrated her expressive and gestural approach
• Bedri Rahmi Eyüboğlu's "Fishermen" (1952) and "Abstract Landscape" (1953) incorporated elements of Turkish folk art and calligraphy into modernist compositions
• The group participated in major international exhibitions, including the Venice Biennale (1956) and the São Paulo Biennale (1957), introducing Turkish modernism to a global audience
• Held regular exhibitions throughout the 1940s and 1950s at various venues in Istanbul, Ankara, and Izmir, showcasing the evolving styles and concerns of its members

Impact on Turkish Art Scene

• The D Group played a pivotal role in the development of modern art in Turkey, challenging traditional artistic conventions and introducing new forms of expression
• Helped to establish a professional and institutionalized art scene in the country, with a network of galleries, museums, and art schools
  • Many members went on to become influential teachers, mentors, and administrators in Turkish art institutions
• Contributed to the broader cultural and intellectual discourse surrounding modernism, nationalism, and identity in early republican Turkey
• Paved the way for subsequent generations of Turkish artists who continued to explore the possibilities of abstraction, experimentation, and cultural synthesis
• Influenced the development of other modernist groups and movements in Turkey, such as the Yeniler Group and the Abstract Expressionists
• Helped to raise the international profile of Turkish art, participating in major exhibitions and biennales abroad

Global Influences and Connections

• The D Group was deeply influenced by the international modernist movements of the early 20th century, particularly those emanating from Paris
• Many members had studied or traveled extensively in Europe, where they were exposed to the works of artists such as Pablo Picasso, Georges Braque, Wassily Kandinsky, and Piet Mondrian
  • Adapted and transformed these influences to create a distinctly Turkish form of modernism
• Participated in international exhibitions and biennales, forging connections with artists and critics from around the world
• Corresponded with and hosted foreign artists and intellectuals visiting Turkey, exchanging ideas and perspectives on modernism and its local manifestations
• Contributed to the global discourse on modernism, decolonization, and cultural identity in the post-war period
• Influenced by the political and social upheavals of the mid-20th century, including World War II, the Cold War, and the rise of anti-colonial movements in the Global South

Legacy and Contemporary Relevance

• The D Group's pioneering efforts laid the foundation for the development of modern and contemporary art in Turkey
• Helped to establish a tradition of artistic experimentation, innovation, and cultural synthesis that continues to inspire new generations of Turkish artists
• Many of the group's members are now considered canonical figures in the history of Turkish art, with their works widely exhibited and collected both nationally and internationally
• The group's emphasis on the social and political role of art remains relevant in contemporary Turkey, where artists continue to engage with issues of identity, democracy, and cultural heritage
• The D Group's legacy is celebrated through retrospective exhibitions, publications, and scholarly research, cementing its place in the annals of global modernism
• Provides a valuable case study for understanding the complex dynamics of cultural exchange, appropriation, and transformation in the context of modernization and globalization
• Offers insights into the challenges and possibilities of creating a locally rooted yet globally connected form of artistic expression in the face of political, economic, and cultural upheaval