![\"\"](\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2024\/11\/Fahrelnissa-Zeid-eserleri.webp\")
<\/figure>\n\n\n\nFahrelnissa Bat\u0131 tarz\u0131nda e\u011fitim alm\u0131\u015ft\u0131. O ve k\u0131z karde\u015fi Aliye, Frans\u0131z okullar\u0131na devam ederken ayn\u0131 zamanda T\u00fcrk kimlikleriyle de gurur duyuyorlard\u0131. Birinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131n ba\u015flamas\u0131ndan sonra Frans\u0131z okullar\u0131 aniden kapand\u0131 ve bu durum k\u0131z karde\u015flerin pahal\u0131 \u00f6zel okullara kaydolmas\u0131na yol a\u00e7t\u0131. Para k\u0131s\u0131tl\u0131yd\u0131 ve iki k\u0131z okula yamal\u0131 giysiler ve eski ayakkab\u0131larla gidiyordu. Fahrelnissa inisiyatif g\u00f6stererek kartpostallar boyad\u0131 ve bunlar\u0131 sanat ve okul malzemeleri sat\u0131n almak i\u00e7in yerel bir d\u00fckkanda satt\u0131.<\/p>\n\n\n\n
Fahrelnissa, 18 ya\u015f\u0131ndayken \u00e7ar\u015faf giymeyi b\u0131rakmaya karar verdi ve bundan alt\u0131 y\u0131l sonra T\u00fcrkiye\u2019de \u00e7ar\u015faf zorunlulu\u011fu kalkt\u0131. Gen\u00e7 kad\u0131n 1919\u2019da \u0130stanbul Kad\u0131n G\u00fczel Sanatlar Akademisi\u2019ne kaydoldu. \u0130zzet Melih Devrim\u2019in kendisiyle tan\u0131\u015fmak istemesi \u00fczerine olduk\u00e7a heyecanland\u0131. Fahrelnissa, Devrim\u2019in romanlar\u0131na hayrand\u0131 ve 1920\u2019de evlendiklerinden k\u0131sa s\u00fcre sonra ilk erkek \u00e7ocuklar\u0131 d\u00fcnyaya geldi. Ancak o\u011fullar\u0131 iki ya\u015f\u0131ndayken k\u0131z\u0131ldan \u00f6ld\u00fc. 1923\u2019te ise o\u011fullar\u0131 Nejad d\u00fcnyaya geldi. Devrim \u2018in ilk evlili\u011finden Remide ad\u0131nda bir k\u0131z\u0131 vard\u0131 ve bu k\u0131z, yirmi y\u0131l sonra Fahrelnissa\u2019n\u0131n kariyerinde \u00f6nemli bir oynad\u0131. <\/p>\n\n\n\n
Fahrelnissa\u2019n\u0131n Devrim ile olan istikrars\u0131z evlili\u011fi, onun i\u00e7in b\u00fcy\u00fck bir depresyon ve kayg\u0131 kayna\u011f\u0131yd\u0131. Devrim\u2019in sadakatsizli\u011fi nedeniyle \u00e7ift giderek \u015fiddetlenen kavgalar ediyorlard\u0131. Avrupa gezileri, kocas\u0131n\u0131n sadakatsizliklerini g\u00f6rmezden gelmesine bir s\u00fcreli\u011fine olanak tan\u0131d\u0131 ve buralarda yapt\u0131\u011f\u0131 m\u00fcze gezilerini g\u00fcnl\u00fcklerinde belgeledi. <\/p>\n\n\n\n
Sanat\u00e7\u0131 1928\u2019de Paris\u2019teki Academie Ranson\u2019a kaydoldu ve burada daha \u00f6nce inceledi\u011fi Avrupa \u00fcsluplar\u0131ndan son derece farkl\u0131 bir sanat d\u00fcnyas\u0131 ke\u015ffetti. 1929\u2019da \u0130stanbul\u2019a d\u00f6n\u00fcnce G\u00fczel Sanatlar Akademisi\u2019ne kaydoldu. <\/p>\n\n\n\n
1934\u2019te kocas\u0131n\u0131n sadakatsizliklerine daha fazla dayanamayan sanat\u00e7\u0131, bo\u015fand\u0131. O zamanlar i\u00e7in al\u0131\u015f\u0131lmad\u0131k bir durum olan bu eylem, onun g\u00fcc\u00fcn\u00fcn ve ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131n bir yans\u0131mas\u0131yd\u0131. Bo\u015fanmas\u0131 kesinle\u015ftikten sonra Fahrelnissa, Ha\u015fimi hanedan\u0131n\u0131n \u00fcyesi olan Prens Zeid bin H\u00fcseyin ile Atina\u2019da tan\u0131\u015ft\u0131 ve burada evlendi. B\u00f6ylece Fahrelnissa prenses ve diplomat e\u015fi oldu. <\/p>\n\n\n\n
1935\u2019te Prens Zeid, Irak\u2019\u0131n Almanya b\u00fcy\u00fckel\u00e7isi olarak atand\u0131 ve Berlin\u2019e ta\u015f\u0131nd\u0131lar. Burada Fahrelnissa, toplum taraf\u0131ndan b\u00fcy\u00fck ilgi g\u00f6rd\u00fc ve sevildi. \u00d6te yandan sanata olan tutkusu ve ald\u0131\u011f\u0131 dersler sayesinde \u00e7ok sevdi\u011fi sanattan da geri kalmad\u0131. Almaya\u2019n\u0131n Avusturya\u2019y\u0131 Hitler y\u00f6netimine ilhak etmesi \u00fczerine Prens Zeid\u2019in g\u00f6revi yar\u0131da kesildi ve Ba\u011fdat\u2019a \u00e7a\u011f\u0131r\u0131ld\u0131. <\/p>\n\n\n\n
Fahrelnissa, 1938\u2019den itibaren on y\u0131l boyunca s\u00fcrecek olan b\u00fcy\u00fck bir depresyonun pen\u00e7esine d\u00fc\u015ft\u00fc. Hasta oldu\u011fundan emin, Paris\u2019e gitti ve hastaneye yat\u0131r\u0131ld\u0131. \u0130yile\u015ftikten sonra \u0130stanbul\u2019 d\u00f6nd\u00fc ancak k\u0131sa bir s\u00fcre sonra yine buhranlar ya\u015famaya ba\u015flay\u0131nca kendini Budape\u015fte\u2019deki bir sanatoryuma kapatt\u0131. Orada resim yapt\u0131\u011f\u0131 bir daire kiralad\u0131 ve \u00e7al\u0131\u015fmalar\u0131 onu tatmin ediyordu ancak ba\u015fka bir hastaneye yatt\u0131ktan sonra intihara te\u015febb\u00fcs etti ve \u0130stanbul\u2019a g\u00f6nderildi. <\/p>\n\n\n\n
Fahrelnissa 1940 y\u0131l\u0131nda \u0130stanbul\u2019a d\u00f6nerken, Budape\u015fte\u2019de yapt\u0131\u011f\u0131 on adet tablosu trende \u00e7al\u0131nd\u0131. Baz\u0131lar\u0131n\u0131 yeniden yapt\u0131 ancak elinde yaln\u0131zca bir tanesi kald\u0131. \u0130stanbul\u2019da kalmaya karar veren sanat\u00e7\u0131, eski kocas\u0131 Devrim\u2019in k\u0131z\u0131yla olan ileti\u015fimini s\u00fcrd\u00fcrd\u00fc. Devrim\u2019in damad\u0131 olan gazeteci Fikret Adil, bir ziyaretinde Zeid\u2019in resimlerini g\u00f6rd\u00fc ve toplumun \u00f6nde gelen sanat\u00e7\u0131 ve d\u00fc\u015f\u00fcn\u00fcrleriyle tan\u0131\u015ft\u0131rd\u0131. Karma sergilere kat\u0131ld\u0131 ve ilk ki\u015fisel sergisini 44 ya\u015f\u0131nda a\u00e7t\u0131. <\/p>\n\n\n\n
40\u2019l\u0131 y\u0131llarda \u0130stanbul\u2019daki haftal\u0131k olarak sanat\u00e7\u0131lar, \u015fairler ve ayd\u0131nlara ev sahipli\u011fi yapt\u0131\u011f\u0131 12 odal\u0131 bir daireyi st\u00fcdyo olarak kulland\u0131\u011f\u0131 ve aral\u0131ks\u0131z resim yapt\u0131\u011f\u0131 3 odal\u0131 bir daire daha kiralad\u0131. Doktorlar\u0131 depresyonuna ve ya\u015fad\u0131\u011f\u0131 sinir krizlerine \u00e7\u00f6z\u00fcm olmas\u0131 amac\u0131yla resim yapmas\u0131n\u0131 \u00f6nerdiler. \u00dcretti\u011fi tablolar\u0131n \u00e7oklu\u011funu g\u00f6ren Adil, onu ilk ki\u015fisel sergisini a\u00e7mas\u0131 i\u00e7in te\u015fvik etti. <\/p>\n\n\n\n 1946\u2019da Prens Zeid, Irak\u2019\u0131n \u0130ngiltere b\u00fcy\u00fckel\u00e7isi olarak atand\u0131 ve \u00e7ift, Londra\u2019da yeni bir sayfa a\u00e7t\u0131. Fahrelnissa, el\u00e7ilikte bir st\u00fcdyo kurdu ve burada Henry Moore, Marc Chagall, Lee Miller ve Roland Penrose gibi sanat\u00e7\u0131 ve entelekt\u00fcellerin ilgisini \u00e7eken salonlara ev sahipli\u011fi yapt\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Londra\u2019da sergiledi. Ayr\u0131ca Paris\u2019te bir st\u00fcdyo kurdu ve kendini Frans\u0131z sanat \u00e7evresine kapt\u0131rarak Gertrude Stein, Serge Poliskoff ve Sonia Delaunay ile arkada\u015f oldu. Paris-Londra aras\u0131nda ya\u015farken \u00e7al\u0131\u015fmalar\u0131n\u0131 g\u00f6ren Frans\u0131z ele\u015ftirmenler, sanat\u00e7\u0131y\u0131 Frans\u0131z galerilerinde sergi a\u00e7maya davet etti. Irakta\u2019ki 1958 darbesi sebebiyle, Prens Zeid\u2019in b\u00fcy\u00fckel\u00e7ilik g\u00f6revi sonland\u0131. \u00c7ift m\u00fctevazi bir daireye ta\u015f\u0131nd\u0131 ve Fahrelnissa bir s\u00fcre resme ara verdi. 1969\u2019da Paris\u2019e ta\u015f\u0131nd\u0131klar\u0131 y\u0131l Prens Zeid hayat\u0131n\u0131 kaybetti.<\/p>\n\n\n\n 1975 y\u0131l\u0131nda, 74 ya\u015f\u0131ndayken, Paris\u2019ten ayr\u0131lan Fahrelnissa, Amman\u2019a ta\u015f\u0131nd\u0131. Bir ev kurdu ve bir grup gen\u00e7 kad\u0131na ders verdi. Dersler gayri resmi olsa da Fahrelnissa, \u00dcrd\u00fcn\u2019deki sanat ortam\u0131n\u0131n geli\u015fmesine \u00f6nemli katk\u0131larda bulundu. 1991\u2019deki \u00f6l\u00fcm\u00fcne kadar \u00e7al\u0131\u015fmaya ve \u00f6\u011fretmeye devam etti. <\/p>\n","protected":false},"excerpt":{"rendered":" Fahrelnissa Zeid\u2019in hayat\u0131, melodramik ve trajik bir peri masal\u0131na benziyor. Fahr\u00fcnnisa \u015eakir, \u0130stanbul yak\u0131nlar\u0131nda se\u00e7kin bir Osmanl\u0131 ailesinin \u00e7ocu\u011fu olarak d\u00fcnyaya geldi. Hem amcas\u0131 hem de babas\u0131, askeri ve yerel y\u00f6netimde aktif olan \u00fcst d\u00fczey Osmanl\u0131 diplomatlar\u0131n\u0131n yan\u0131 s\u0131ra amat\u00f6r tarih\u00e7i ve foto\u011fraf\u00e7\u0131lard\u0131. Babas\u0131, Osmanl\u0131\u2019n\u0131n Yunanistan b\u00fcy\u00fckel\u00e7isi olarak g\u00f6rev yapt\u0131 ve \u00e7ocuklar\u0131n\u0131 sanat ve edebiyatla […]<\/p>\n","protected":false},"author":2,"featured_media":1368,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":""},"categories":[36],"tags":[],"class_list":["post-1354","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ilham-verenler"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/1354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/comments?post=1354"}],"version-history":[{"count":2,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/1354\/revisions"}],"predecessor-version":[{"id":1371,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/1354\/revisions\/1371"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media\/1368"}],"wp:attachment":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media?parent=1354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/categories?post=1354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/tags?post=1354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2024\/11\/Fahrelnissa-Zeid-sanatci.jpg\")
<\/figure>\n\n\n\n