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拍品专文
'Cinderella is a fairy tale which has had a strong impression on me, somehow giving a shape to me since my childhood. From the very beginning, my career as an artist bears a resemblance to the plot of Cinderella'
(T. Ceylan, Istanbul, 2012).
Taner Ceylan: Istanbul, 2012
'Since my graduation from the fine arts academy, in 2006, the main theme of realist language in my paintings took the form of the male body. This does not stem from my taking myself as a starting point but rather from my perception of the male body as an object of pleasure and pain. At that time art history and especially nude paintings in Renaissance religious paintings were references for me, but I could also find the necessary references in fashion magazines.
However, my desire for painting based on my emotions started with painting the figures of myself. For instance, Taner Taner (2003) and The Portrait of Taner Ceylan (2002)... But here's the question I asked myself: Which direction should I follow when it comes to representing my female side?
Cinderella is a fairy tale which has had a strong impression on me, somehow giving a shape to me since my childhood. From the very beginning, my career as an artist bears a resemblance to the plot of Cinderella. There is no doubt that the tradition of the female nude is richer in comparison to the tradition of the male nude, since the Renaissance until today. By combining Boucher's and Fragonard's baroque perspectives, the romanticism of the orientalists and the rawness of Nan Goldin and Wolfgang Tillmans's comtemporary art, I pictured Self Portrait as Cinderella portraying the richness of the classical beauty and making it clash with objects.
Portraying the woman as a lustful object of pleasure is a quite critical point in art history. On the one hand there are the saints, on the other hand there are the odalisques who are known for seduction. Nevertheless, innocence plays a key part in all of them. In contrast to the saints in art history, the viewer is ready to lose his/her innocence from the very first moment they encounter the Self Portrait as Cinderella. For what its worth... The viewer no more wants to be a saint. Ibelieve that the most erotic part of the painting is the tear seen on the left part of the carpet, which was delicately woven. As a symbol, although the tear is stitched with a black thread, it could be understood by the look of the figure that he/she is ready to lose his/her innocence and this sentimental state is irreversible.
After my first works in which I portrayed women, titled The Reading Lady (2007) and New World (2006), Self Portrait as Cinderella is my first and only painting that has undoubtedly made peace with its feminine side, describing sexuality in a very strong way. Besides, it is the first painting that required me to work on the texture of a fabric for such a long time. For this reason, it also indicates my closeness to Flemish paintings'.
(T. Ceylan, Istanbul, 2012).
Taner Ceylan: Istanbul, 2012
'Since my graduation from the fine arts academy, in 2006, the main theme of realist language in my paintings took the form of the male body. This does not stem from my taking myself as a starting point but rather from my perception of the male body as an object of pleasure and pain. At that time art history and especially nude paintings in Renaissance religious paintings were references for me, but I could also find the necessary references in fashion magazines.
However, my desire for painting based on my emotions started with painting the figures of myself. For instance, Taner Taner (2003) and The Portrait of Taner Ceylan (2002)... But here's the question I asked myself: Which direction should I follow when it comes to representing my female side?
Cinderella is a fairy tale which has had a strong impression on me, somehow giving a shape to me since my childhood. From the very beginning, my career as an artist bears a resemblance to the plot of Cinderella. There is no doubt that the tradition of the female nude is richer in comparison to the tradition of the male nude, since the Renaissance until today. By combining Boucher's and Fragonard's baroque perspectives, the romanticism of the orientalists and the rawness of Nan Goldin and Wolfgang Tillmans's comtemporary art, I pictured Self Portrait as Cinderella portraying the richness of the classical beauty and making it clash with objects.
Portraying the woman as a lustful object of pleasure is a quite critical point in art history. On the one hand there are the saints, on the other hand there are the odalisques who are known for seduction. Nevertheless, innocence plays a key part in all of them. In contrast to the saints in art history, the viewer is ready to lose his/her innocence from the very first moment they encounter the Self Portrait as Cinderella. For what its worth... The viewer no more wants to be a saint. Ibelieve that the most erotic part of the painting is the tear seen on the left part of the carpet, which was delicately woven. As a symbol, although the tear is stitched with a black thread, it could be understood by the look of the figure that he/she is ready to lose his/her innocence and this sentimental state is irreversible.
After my first works in which I portrayed women, titled The Reading Lady (2007) and New World (2006), Self Portrait as Cinderella is my first and only painting that has undoubtedly made peace with its feminine side, describing sexuality in a very strong way. Besides, it is the first painting that required me to work on the texture of a fabric for such a long time. For this reason, it also indicates my closeness to Flemish paintings'.