{"id":2418,"date":"2025-02-20T10:24:14","date_gmt":"2025-02-20T07:24:14","guid":{"rendered":"https:\/\/ivasanat.com\/blog\/?p=2418"},"modified":"2025-02-24T10:24:30","modified_gmt":"2025-02-24T07:24:30","slug":"ronesans-doneminde-kadin-sanatcilar","status":"publish","type":"post","link":"https:\/\/ivasanat.com\/blog\/ronesans-doneminde-kadin-sanatcilar\/","title":{"rendered":"R\u00f6nesans D\u00f6neminde Kad\u0131n Sanat\u00e7\u0131lar: G\u00f6lgeden \u00c7\u0131kan Dehalar"},"content":{"rendered":"\n<div class=\"wp-block-rank-math-toc-block\" id=\"rank-math-toc\"><nav><ul><li class=\"\"><a href=\"#unutulmus-ustalar-ronesans-in-kadin-ressamlari\">Unutulmu\u015f Ustalar: R\u00f6nesans\u2019\u0131n Kad\u0131n Ressamlar\u0131<\/a><ul><li class=\"\"><a href=\"#sofonisba-anguissola\">Sofonisba Anguissola<\/a><\/li><li class=\"\"><a href=\"#artemisia-gentileschi\">Artemisia Gentileschi<\/a><\/li><li class=\"\"><a href=\"#fede-galizia\">Fede Galizia<\/a><\/li><li class=\"\"><a href=\"#lavinia-fontana\">Lavinia Fontana<\/a><\/li><li class=\"\"><a href=\"#properzia-de-rossi\">Properzia de\u2019 Rossi<\/a><\/li><\/ul><\/li><li class=\"\"><a href=\"#ronesans-doneminde-kadinlarin-kendi-atolyelerini-kurmalari\">R\u00f6nesans D\u00f6neminde Kad\u0131nlar\u0131n Kendi At\u00f6lyelerini Kurmalar\u0131<\/a><\/li><li class=\"\"><a href=\"#sanat-tarihi-onlari-unuttu-yeniden-kesfedilen-dehalar\">Sanat Tarihi Onlar\u0131 Unuttu: Yeniden Ke\u015ffedilen Dehalar<\/a><\/li><\/ul><\/nav><\/div>\n\n\n\n<p>R\u00f6nesans, Avrupa\u2019da sanatta, bilimde ve d\u00fc\u015f\u00fcncede b\u00fcy\u00fck de\u011fi\u015fimlerin ya\u015fand\u0131\u011f\u0131 bir d\u00f6nem olsa da, bu ilerlemeler kad\u0131n sanat\u00e7\u0131lar i\u00e7in ayn\u0131 \u00f6l\u00e7\u00fcde ge\u00e7erli de\u011fildi. 15. ve 16. y\u00fczy\u0131llarda kad\u0131nlar\u0131n e\u011fitim almas\u0131, \u00f6zellikle de resim gibi mesleklerde ustala\u015fmas\u0131 olduk\u00e7a zordu. Erkek sanat\u00e7\u0131lar loncalara \u00fcye olup at\u00f6lyelerde \u00e7al\u0131\u015farak kariyer yapabilirken, kad\u0131nlar \u00e7o\u011funlukla bu f\u0131rsatlardan mahrum b\u0131rak\u0131l\u0131yordu. Kad\u0131nlar\u0131n \u00e7\u0131plak model \u00fczerinde \u00e7al\u0131\u015fma hakk\u0131 olmad\u0131\u011f\u0131 i\u00e7in anatomik bilgi edinmeleri s\u0131n\u0131rl\u0131yd\u0131. Ayr\u0131ca, bir\u00e7ok sanat akademisi ve at\u00f6lye, kad\u0131nlar\u0131 kabul etmiyordu.<\/p>\n\n\n\n<p>Kad\u0131n sanat\u00e7\u0131lar\u0131n e\u011fitim almas\u0131n\u0131n tek yolu, genellikle sanat\u00e7\u0131 bir baban\u0131n ya da yak\u0131n bir akraban\u0131n vesayeti alt\u0131nda \u00f6\u011frenim g\u00f6rmekti. Bunun d\u0131\u015f\u0131nda, baz\u0131 soylu kad\u0131nlar saray \u00e7evresinde sanatla ilgilenme \u015fans\u0131 yakalayabiliyor, manast\u0131rlarda dini resimler yaparak yeteneklerini geli\u015ftirebiliyordu. Ancak, sanat kariyeri yapan kad\u0131nlar \u00e7o\u011funlukla toplumsal bask\u0131larla m\u00fccadele etmek zorundayd\u0131. Kad\u0131nlar\u0131n resim yapmas\u0131, onlar\u0131n evlilik ve annelik gibi \u201cdo\u011fal\u201d rollerine uygun g\u00f6r\u00fclmedi\u011finden, sanatla ilgilenen kad\u0131nlar toplum i\u00e7inde ya d\u0131\u015flan\u0131yor ya da sanatlar\u0131n\u0131 icra etmek i\u00e7in erkek takma adlar\u0131 kullanmak zorunda kal\u0131yordu.<\/p>\n\n\n\n<p>T\u00fcm bu zorluklara ra\u011fmen baz\u0131 kad\u0131n sanat\u00e7\u0131lar yetenekleriyle \u00f6ne \u00e7\u0131kmay\u0131 ba\u015fard\u0131. Saray ressam\u0131 olarak \u00e7al\u0131\u015fan Sofonisba Anguissola, dramatik eserleriyle bilinen Artemisia Gentileschi ve nat\u00fcrmort resimleriyle tan\u0131nan Fede Galizia gibi sanat\u00e7\u0131lar, R\u00f6nesans d\u00f6neminde kad\u0131nlar\u0131n sanattaki varl\u0131\u011f\u0131n\u0131 kan\u0131tlayan \u00f6nemli fig\u00fcrler oldu.<\/p>\n\n\n\n<p>\u0130lginizi \u00e7ekebilir: <strong><a href=\"https:\/\/ivasanat.com\/blog\/en-buyuk-muzeler\/\">D\u00fcnyadaki En B\u00fcy\u00fck Sanat M\u00fczeleri<\/a><\/strong><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"unutulmus-ustalar-ronesans-in-kadin-ressamlari\">Unutulmu\u015f Ustalar: R\u00f6nesans\u2019\u0131n Kad\u0131n Ressamlar\u0131<\/h2>\n\n\n\n<p>R\u00f6nesans denildi\u011finde akla genellikle Leonardo da Vinci, Michelangelo ve Raphael gibi erkek sanat\u00e7\u0131lar gelir. Oysa ayn\u0131 d\u00f6nemde, b\u00fcy\u00fck yeteneklere sahip kad\u0131n ressamlar da sanat d\u00fcnyas\u0131nda \u00f6nemli roller \u00fcstlenmi\u015ftir. Ancak, toplumsal normlar ve sanat tarih\u00e7ili\u011finin uzun s\u00fcre erkek merkezli olmas\u0131 nedeniyle bu kad\u0131n sanat\u00e7\u0131lar hak ettikleri ilgiyi g\u00f6rememi\u015ftir.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"sofonisba-anguissola\">Sofonisba Anguissola<\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"993\" src=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Sofonisba-Anguissola.jpg\" alt=\"\" class=\"wp-image-2419\" srcset=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Sofonisba-Anguissola.jpg 853w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Sofonisba-Anguissola-258x300.jpg 258w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Sofonisba-Anguissola-768x894.jpg 768w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Sofonisba-Anguissola-10x12.jpg 10w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\" \/><\/figure>\n\n\n\n<p>Sofonisba Anguissola (1532-1625), R\u00f6nesans d\u00f6neminin en tan\u0131nm\u0131\u015f kad\u0131n sanat\u00e7\u0131lar\u0131ndan biridir. \u0130talyan bir aristokrat ailesine mensup olan Anguissola, gen\u00e7 ya\u015fta resim e\u011fitimi alm\u0131\u015f ve yetene\u011fi sayesinde \u0130spanya Kral\u0131 II. Felipe\u2019nin saray ressam\u0131 olmu\u015ftur. Sarayda kraliyet ailesinin portrelerini yaparak b\u00fcy\u00fck bir \u00fcn kazanm\u0131\u015f, \u00f6zellikle detayl\u0131 ve zarif y\u00fcz ifadeleriyle dikkat \u00e7ekmi\u015ftir.<\/p>\n\n\n\n<p>Anguissola\u2019n\u0131n eserleri, R\u00f6nesans\u2019taki di\u011fer portre sanat\u00e7\u0131lar\u0131ndan farkl\u0131 olarak, konular\u0131na daha ki\u015fisel ve s\u0131cak bir bak\u0131\u015f a\u00e7\u0131s\u0131 kazand\u0131rm\u0131\u015ft\u0131r. Duygusal derinli\u011fi olan portreleriyle tan\u0131nan sanat\u00e7\u0131, kad\u0131nlar\u0131n sanat alan\u0131nda var olabilece\u011fini kan\u0131tlayan \u00f6nc\u00fclerden biri olmu\u015ftur.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"artemisia-gentileschi\">Artemisia Gentileschi<\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Artemisia-Gentileschi.webp\" alt=\"\" class=\"wp-image-2420\" srcset=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Artemisia-Gentileschi.webp 1024w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Artemisia-Gentileschi-300x200.webp 300w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Artemisia-Gentileschi-768x512.webp 768w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Artemisia-Gentileschi-18x12.webp 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Artemisia Gentileschi (1593-1653), Barok d\u00f6nemine de damgas\u0131n\u0131 vuran \u00f6nemli bir ressamd\u0131r. Babas\u0131 Orazio Gentileschi\u2019den resim e\u011fitimi alan Artemisia, \u00f6zellikle g\u00fc\u00e7l\u00fc kad\u0131n fig\u00fcrleri resmetmesiyle tan\u0131n\u0131r. Onun en \u00fcnl\u00fc eserlerinden biri olan Judith ve Holofernes, kad\u0131nlar\u0131n g\u00fcc\u00fcn\u00fc ve direncini simgeleyen dramatik bir sahne sunar.<\/p>\n\n\n\n<p>Gentileschi\u2019nin hayat\u0131, kad\u0131n sanat\u00e7\u0131lar i\u00e7in ne denli zor bir d\u00f6nemde ya\u015fad\u0131\u011f\u0131n\u0131 g\u00f6steren \u00f6rneklerden biridir. Gen\u00e7 ya\u015fta \u00f6\u011fretmeni Agostino Tassi taraf\u0131ndan cinsel sald\u0131r\u0131ya u\u011fram\u0131\u015f, ancak a\u00e7\u0131lan dava sonucunda b\u00fcy\u00fck bir cesaret sergileyerek adalet aram\u0131\u015ft\u0131r. Bu olay, onun sanat\u0131nda g\u00fc\u00e7l\u00fc kad\u0131n karakterleri resmetmesini daha da peki\u015ftirmi\u015ftir. Artemisia, d\u00f6nemin en ba\u015far\u0131l\u0131 kad\u0131n ressamlar\u0131ndan biri olarak Avrupa\u2019n\u0131n \u00e7e\u015fitli saraylar\u0131nda \u00e7al\u0131\u015fm\u0131\u015f ve sanat tarihinde kendine sa\u011flam bir yer edinmi\u015ftir.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"fede-galizia\">Fede Galizia<\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"449\" height=\"500\" src=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Fede-Galizia.jpg\" alt=\"\" class=\"wp-image-2421\" srcset=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Fede-Galizia.jpg 449w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Fede-Galizia-269x300.jpg 269w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Fede-Galizia-11x12.jpg 11w\" sizes=\"auto, (max-width: 449px) 100vw, 449px\" \/><\/figure>\n\n\n\n<p>Fede Galizia (1574-1630), \u00f6zellikle nat\u00fcrmort resimleriyle tan\u0131nan bir sanat\u00e7\u0131d\u0131r. Babas\u0131 Nunzio Galizia\u2019n\u0131n at\u00f6lyesinde e\u011fitim alan Fede, portre ve dini resimler de yapm\u0131\u015f olsa da, \u00f6zellikle meyve ve \u00e7i\u00e7eklerden olu\u015fan nat\u00fcrmort eserleriyle b\u00fcy\u00fck bir \u00fcne kavu\u015fmu\u015ftur.<\/p>\n\n\n\n<p>Onun nat\u00fcrmortlar\u0131, d\u00f6nemin erkek sanat\u00e7\u0131lar\u0131ndan farkl\u0131 olarak daha detayl\u0131 ve incelikli bir kompozisyona sahiptir. Nesnelerin dokular\u0131n\u0131, \u0131\u015f\u0131k oyunlar\u0131n\u0131 ve g\u00f6lgeleri ustal\u0131kla kullanarak dikkat \u00e7ekici bir realizm yakalam\u0131\u015ft\u0131r. Do\u011faya duydu\u011fu derin ilgiyi eserlerine yans\u0131tan Galizia, kad\u0131nlar\u0131n sanat alan\u0131ndaki yeteneklerini g\u00f6zler \u00f6n\u00fcne seren \u00f6nemli sanat\u00e7\u0131lardan biridir.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"lavinia-fontana\">Lavinia Fontana<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"842\" height=\"1024\" src=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana-842x1024.webp\" alt=\"\" class=\"wp-image-2422\" srcset=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana-842x1024.webp 842w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana-247x300.webp 247w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana-768x934.webp 768w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana-1263x1536.webp 1263w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana-10x12.webp 10w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Lavinia-Fontana.webp 1316w\" sizes=\"auto, (max-width: 842px) 100vw, 842px\" \/><\/figure>\n\n\n\n<p>Lavinia Fontana (1552-1614), R\u00f6nesans d\u00f6neminde kendi at\u00f6lyesini y\u00f6neten ve mesle\u011fini serbest olarak icra eden ilk kad\u0131n ressamlardan biridir. Babas\u0131 Prospero Fontana\u2019dan resim e\u011fitimi alarak yetene\u011fini geli\u015ftiren Lavinia, \u00f6zellikle portre ve dini sahnelerle tan\u0131nm\u0131\u015ft\u0131r.<\/p>\n\n\n\n<p>Fontana\u2019n\u0131n sanat\u0131nda, kad\u0131n fig\u00fcrleri \u00f6nemli bir yer tutar. Di\u011fer kad\u0131n sanat\u00e7\u0131lardan farkl\u0131 olarak, kad\u0131nlar\u0131 g\u00fcnl\u00fck ya\u015famlar\u0131nda, s\u00fcsl\u00fc k\u0131yafetleri ve incelikle i\u015flenmi\u015f m\u00fccevherleriyle resmetmi\u015ftir. Onun eserleri, d\u00f6nemin aristokrat kad\u0131nlar\u0131n\u0131n ya\u015fam tarz\u0131n\u0131 yans\u0131t\u0131rken, ayn\u0131 zamanda kad\u0131n sanat\u00e7\u0131lar\u0131n nas\u0131l ba\u015far\u0131l\u0131 olabilece\u011fini de g\u00f6stermi\u015ftir.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"properzia-de-rossi\">Properzia de\u2019 Rossi<\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"800\" src=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Properzia-de-Rossi.jpg\" alt=\"\" class=\"wp-image-2423\" srcset=\"https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Properzia-de-Rossi.jpg 632w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Properzia-de-Rossi-237x300.jpg 237w, https:\/\/ivasanat.com\/blog\/wp-content\/uploads\/2025\/02\/Properzia-de-Rossi-9x12.jpg 9w\" sizes=\"auto, (max-width: 632px) 100vw, 632px\" \/><\/figure>\n\n\n\n<p>Properzia de\u2019 Rossi (1490-1530), R\u00f6nesans d\u00f6neminde heykelt\u0131ra\u015f olarak tan\u0131nan nadir kad\u0131n sanat\u00e7\u0131lardan biridir. Sanat d\u00fcnyas\u0131nda erkeklerin h\u00e2kim oldu\u011fu bir d\u00f6nemde, mermer ve ta\u015f gibi a\u011f\u0131r malzemelerle \u00e7al\u0131\u015farak b\u00fcy\u00fck bir cesaret g\u00f6stermi\u015ftir. Rossi, ayn\u0131 zamanda meyve \u00e7ekirdekleri \u00fczerine yapt\u0131\u011f\u0131 minyat\u00fcr oymalarla da tan\u0131nm\u0131\u015f, \u00f6zellikle incelikli ve detayl\u0131 i\u015f\u00e7ili\u011fiyle dikkat \u00e7ekmi\u015ftir.<\/p>\n\n\n\n<p>Onun en \u00f6nemli eserlerinden biri, Bologna\u2019daki San Petronio Bazilikas\u0131 i\u00e7in yapt\u0131\u011f\u0131 r\u00f6lyeflerdir. Bu eserler, heykelt\u0131ra\u015f olarak yetene\u011fini ve ustal\u0131\u011f\u0131n\u0131 kan\u0131tlam\u0131\u015f, onun b\u00fcy\u00fck bir sanat\u00e7\u0131 olarak tan\u0131nmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r. Ancak, kariyeri boyunca erkek meslekta\u015flar\u0131yla m\u00fccadele etmek zorunda kalm\u0131\u015f, bir\u00e7ok sipari\u015ften d\u0131\u015flanm\u0131\u015ft\u0131r. Buna ra\u011fmen, Properzia de\u2019 Rossi, R\u00f6nesans sanat\u0131nda kad\u0131nlar\u0131n da heykel alan\u0131nda s\u00f6z sahibi olabilece\u011fini kan\u0131tlayan \u00f6nc\u00fc isimlerden biri olmu\u015ftur.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"ronesans-doneminde-kadinlarin-kendi-atolyelerini-kurmalari\">R\u00f6nesans D\u00f6neminde Kad\u0131nlar\u0131n Kendi At\u00f6lyelerini Kurmalar\u0131<\/h2>\n\n\n\n<p>R\u00f6nesans d\u00f6neminde sanat\u00e7\u0131lar i\u00e7in at\u00f6lyeler b\u00fcy\u00fck bir \u00f6neme sahipti. Ustalar, \u00f6\u011frencilerini burada yeti\u015ftiriyor, sipari\u015fler al\u0131yor ve eserlerini \u00fcretiyorlard\u0131. Ancak kad\u0131n sanat\u00e7\u0131lar i\u00e7in kendi at\u00f6lyelerini kurmak neredeyse imk\u00e2ns\u0131zd\u0131. \u00c7o\u011fu kad\u0131n, sanatlar\u0131n\u0131 babalar\u0131n\u0131n veya e\u015flerinin at\u00f6lyelerinde icra etmek zorundayd\u0131.<\/p>\n\n\n\n<p>Bu engellere ra\u011fmen, baz\u0131 kad\u0131n sanat\u00e7\u0131lar kendi at\u00f6lyelerini y\u00f6netmeyi ba\u015fard\u0131. Lavinia Fontana, Bologna\u2019da kendi st\u00fcdyosunu a\u00e7arak hem sipari\u015fler ald\u0131 hem de sanat\u00e7\u0131 olarak ba\u011f\u0131ms\u0131z bir kariyer s\u00fcrd\u00fcrd\u00fc. Artemisia Gentileschi de kendi at\u00f6lyesini kurarak ba\u015far\u0131l\u0131 bir sanat\u00e7\u0131 oldu ve Avrupa\u2019n\u0131n \u00e7e\u015fitli \u015fehirlerinden sipari\u015fler ald\u0131.<\/p>\n\n\n\n<p>Kad\u0131nlar\u0131n at\u00f6lye kurabilmesi i\u00e7in genellikle aristokrat ya da saray deste\u011fine sahip olmas\u0131 gerekiyordu. Sanat d\u00fcnyas\u0131nda kad\u0131nlar\u0131n varl\u0131\u011f\u0131n\u0131n kabul edilmesi yava\u015f ilerledi\u011fi i\u00e7in, bir\u00e7ok yetenekli kad\u0131n ressam ve heykelt\u0131ra\u015f ba\u011f\u0131ms\u0131z \u00e7al\u0131\u015famad\u0131 ya da eserlerini erkek sanat\u00e7\u0131lara atfetmek zorunda kald\u0131. Ancak, at\u00f6lye kurabilen az say\u0131daki kad\u0131n sanat\u00e7\u0131, ilerleyen d\u00f6nemlerde kad\u0131nlar\u0131n sanattaki yerini g\u00fc\u00e7lendiren \u00f6nemli bir miras b\u0131rakt\u0131.<\/p>\n\n\n\n<p>\u0130lginizi \u00e7ekebilir: <strong><a href=\"https:\/\/ivasanat.com\/blog\/sanatta-venus-imgesi-ve-hikayeleri\/\">Sanatta Ven\u00fcs: Sanat Tarihinde Ven\u00fcs Sembolizmi ve Hikayeleri<\/a><\/strong><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"sanat-tarihi-onlari-unuttu-yeniden-kesfedilen-dehalar\">Sanat Tarihi Onlar\u0131 Unuttu: Yeniden Ke\u015ffedilen Dehalar<\/h2>\n\n\n\n<p>Sanat tarihi uzun y\u0131llar boyunca erkek sanat\u00e7\u0131lar\u0131n ba\u015far\u0131lar\u0131n\u0131 \u00f6n plana \u00e7\u0131kar\u0131rken, kad\u0131n sanat\u00e7\u0131lar ya g\u00f6rmezden gelindi ya da eserleri erkeklere atfedildi. R\u00f6nesans d\u00f6neminde b\u00fcy\u00fck ba\u015far\u0131lara imza atan Lavinia Fontana, Artemisia Gentileschi, Properzia de\u2019 Rossi ve Sofonisba Anguissola gibi isimler, y\u00fczy\u0131llar boyunca hak ettikleri ilgiyi g\u00f6rmedi. Ancak, son y\u0131llarda yap\u0131lan ara\u015ft\u0131rmalar ve sanat tarih\u00e7ili\u011findeki de\u011fi\u015fimler, bu kad\u0131n sanat\u00e7\u0131lar\u0131 yeniden ke\u015ffetmemizi sa\u011flad\u0131.<\/p>\n\n\n\n<p>\u00d6rne\u011fin, Artemisia Gentileschi\u2019nin eserleri uzun s\u00fcre babas\u0131 Orazio Gentileschi\u2019ye atfedildi. Ancak g\u00fcn\u00fcm\u00fczde, onun kendine \u00f6zg\u00fc dramatik tarz\u0131 ve g\u00fc\u00e7l\u00fc kad\u0131n fig\u00fcrleriyle Barok sanat\u0131n\u0131n en \u00f6nemli temsilcilerinden biri oldu\u011fu kabul ediliyor. Benzer \u015fekilde, Sofonisba Anguissola\u2019n\u0131n baz\u0131 portreleri, 19. y\u00fczy\u0131la kadar yanl\u0131\u015fl\u0131kla erkek ressamlar taraf\u0131ndan yap\u0131lm\u0131\u015f olarak kaydedildi.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>R\u00f6nesans, Avrupa\u2019da sanatta, bilimde ve d\u00fc\u015f\u00fcncede b\u00fcy\u00fck de\u011fi\u015fimlerin ya\u015fand\u0131\u011f\u0131 bir d\u00f6nem olsa da, bu ilerlemeler kad\u0131n sanat\u00e7\u0131lar i\u00e7in ayn\u0131 \u00f6l\u00e7\u00fcde ge\u00e7erli de\u011fildi. 15. ve 16. y\u00fczy\u0131llarda kad\u0131nlar\u0131n e\u011fitim almas\u0131, \u00f6zellikle de resim gibi mesleklerde ustala\u015fmas\u0131 olduk\u00e7a zordu. Erkek sanat\u00e7\u0131lar loncalara \u00fcye olup at\u00f6lyelerde \u00e7al\u0131\u015farak kariyer yapabilirken, kad\u0131nlar \u00e7o\u011funlukla bu f\u0131rsatlardan mahrum b\u0131rak\u0131l\u0131yordu. Kad\u0131nlar\u0131n \u00e7\u0131plak model [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2424,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":""},"categories":[36],"tags":[],"class_list":["post-2418","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\/2418","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=2418"}],"version-history":[{"count":1,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/2418\/revisions"}],"predecessor-version":[{"id":2425,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/2418\/revisions\/2425"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media\/2424"}],"wp:attachment":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media?parent=2418"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/categories?post=2418"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/tags?post=2418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}