Even under today’s circumstances, women still face obstacles to overcome, and it’s unfortunately not surprising that they haven’t been able to advance in their desired fields or develop their talents in the past. I wholeheartedly embrace all women who lived through a time when painting wasn’t even considered appropriate, those who are currently struggling to exist within the current situation, and those who will exist in the most beautiful way in the future. In memory of all women who stood up for themselves and all women against unquestionable rules and oppressive attitudes, and who have been pioneers in different countries and cultures, in this issue, I will highlight the women painters who honor us with their presence in Turkish painting.
“Whenever a woman stands up to make her own voice heard, even if she didn’t plan it, she stands up for all women.” M. Angelou.
Filiz GÜLER
MİHRİ MÜŞFİK
Mihri Müşfik, known as the first female painter in Turkish painting, was a strong woman who fought to create art in the Ottoman Empire in the early 20th century. She primarily worked in portraits and still lifes. One of her most important works is a 3-meter-tall portrait of Mustafa Kemal Atatürk, posing in his marshal’s uniform. This portrait is quite famous because it is the first portrait of Atatürk made by a Turkish artist after the proclamation of the Republic. Mihri Müşfik, whose life encompassed many firsts, was the first female artist to receive an education in the West. In 1914, she played a significant role in the establishment of the İnas Sanayi-i Nefise Mektebi (Inas Fine Arts School) to support female students in higher education and their advancement in the fine arts. She was the school’s only female teacher and also its first female director. Her contributions contributed to the development of numerous female artists. Mihri Müşfik spent the final years of her life in the United States. She served as a professor at various universities and, after a time, supported herself by giving private lessons to American families. Her life, plagued by both financial and emotional hardships, ended in 1954 and she was buried in a pauper’s cemetery in the United States.“Whenever a woman stands up to make her own voice heard, even if she didn’t plan it, she stands up for all women.” M. Angelou.
NAZLI ECEVİT
Nazlı Hanım, one of the first students at the İnas School of Fine Arts, worked primarily with oil painting, watercolor, and charcoal drawing. Her work encompasses a wide range of styles and genres. She took lessons from Mihri Müşfik and was influenced by her style early in her artistic career. The works she produced during this period stand out among her most famous and admired works. The patterns she created with small but distinct brushstrokes sometimes overshadowed the use of color, and her style, which she captured without straying from reality, was universally embraced. Although Nazlı Hanım took a break from her work for a period, she remains one of our most prolific female painters. She has held approximately ten solo exhibitions and has worked in numerous group exhibitions. Speaking beyond her artistic life, she was also the mother of Bülent Ecevit, the 16th Prime Minister of Turkey. After her husband’s death, she devoted herself entirely to her work and passed away in Ankara in 1985.CELİLE HİKMET
Born in 1880, Celile Hanım was educated at home. She began painting at the age of 15, and thanks to her father’s aide-de-camp to Sultan Abdulhamid, she was able to take painting lessons from the palace painter Fausto Zonaro. Developing her talents, Celile Hanım, like other female painters of the period, focused on portraiture. Among her most prominent works are portraits of her son, Nazım Hikmet, and her nephew, Oktay Rıfat. She generally painted her immediate circle, friends, and relatives. She produced a large number of works, many of which she distributed to loved ones. Using pastel colors, she achieved a serene, uncluttered appearance. Unable to replicate the serenity of her paintings in her own life, Celile Hanım, despite her advanced age, attempted to support her son, Nazım, who had been on hunger strike for 12 years in prison, and began a hunger strike herself, gathering signatures throughout Istanbul in a protest. Despite her best efforts, the outcome was not as she had hoped. Celile Hanım, who also lost her sight in the final years of her life, died in Ankara in 1956. Books were written and numerous plays performed about the lives of mother and son in the aftermath of these events. As a quick tip, I’d like to recommend Osman Balcıgil’s book, “The Golden-Eyed Pars Celile,” for those who are interested. 🙂Filiz GÜLER