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Selim Turan (1915-1994) Click for Artist Information

"Abstrait Vert"

A HIGHLY SOUGHT-AFTER WORK BY SELİM TURAN FROM THE 1950S…

FROM HIS EARLY 1950S THESIS-ANTITHESIS-SYNTHESIS PAINTINGS AFTER MOVING TO PARIS IN 1947…

One of the most distinctive features of the artist’s works from this period is the painting surface, which, due to the numerous layers of paint applied on canvas, attains a hardness akin to wood.

SELİM TURAN’S INTERPRETATION OF ABSTRACTION: THESIS, ANTITHESIS, SYNTHESIS…

Selim’s approach to abstraction developed alongside pioneering artists seeking a “rupture from rooted harmony” amid the aftermath of World War II, struggling to strip all external images and representations from painting. During this time, deeply focused on pure abstract thought, the artist created black, stratified color blocks by layering paint. In doing so, he not only captured the reality of his own painting but asserted total control over it, even in the narrowest spaces.

The motif of the “crucified Christ,” which features prominently in his compositional structures, can be interpreted as an “antithesis” developed by Selim. His academic education, especially under Leopold Levy, combined with his intimate knowledge of modern art’s “theses,” informed his artistic evolution. Upon arriving in Paris, Selim understood that to survive in the contemporary art scene and grapple with the actor of 21st-century painting and the transcendence of reality, he had two choices: either find his own identity or lose it by following the prevailing trends.

Despite the challenges, Selim chose to discover his own identity, developing polymorphic forms particularly between 1948 and 1955. Pushing the expressive boundaries of abstract art, he worked with forms on a surface devoid of perspective and depth. This period’s production is filled with dazzling examples of Selim’s journey into the depths of his own painting.

Compositions featuring the crucified Christ motif are not descriptive but evocative. After his formal education, Selim developed an approach that rejected all ready-made formulas Impressionism, Cubism, Surrealism  instead magnifying everyday life with a scrutinizing gaze. In these paintings addressing nature, urban life, and people close to him, he sought to create his own voice and breath.

When he turned to the Christian iconography motif as a sort of “antithesis” against the “interpretation” he had arduously constructed, he was both abandoning what he had known before and metaphorically burning his bridges to never return. Although his main framework was abstract art, Selim Turan’s “antithesis” essentially proposed a painting structure imbued with a mystical worldview and color harmonies that could not be understood at a glance.

Oil on canvas

81 x 65 cm

1980, signed

Estimate: 300.000 TL - 450.000 TL

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Selim Turan

Selim Turan

SELİM TURAN (1915 - 1994) 

Selim Turan was born in Istanbul in 1915. As his father was one of the leading members of the Committee of Union and Progress, while growing up, Turan was strongly influenced by his father's ideal of embracing the essence of both Western and Eastern cultures. The artist, who has been interested in painting since a young age, was influenced by İsmail Hakkı Altunbezer, Calligrapher Kamil Efendi and Necmettin Okyay, who are important masters of traditional Turkish arts. At the same time, Turan's interest in painting gradually increased while he was a student at Galatasaray High School, and in 1935 he entered the Istanbul State Academy of Fine Arts.

In his first years at the academy, he attended the workshops of Feyhaman Duran, Nazmi Ziya and Zeki Kocamemi, one of the artists of the so-called 1914 Generation. However, within the scope of the university reforms implemented by the Ministry of National Education, a more liberal approach was adopted when Léopold Lévy (1882-1966) was appointed head of the Painting Department. Under Lévy's influence, Selim Turan and other students, including Agop Arad, Nuri İyem, Tiraje Dikmen and Naile Akıncı, brought a new individuality and self-confidence to modern Turkish painting. The 'Port' exhibition, which was held at Beyoğlu Printing House in 1941, an important turning point in the country's art history, and featured the works of Selim Turan, Nuri İyem, Haşmet Akal, Agop Arad, Avni Arbaş, Turgut Atalay, Abidin Dino, was Turan's first group exhibition. It was an exhibition. Selim Turan graduated from the Academy in 1938, and the next few years were a period of discovery and search for his own path as an artist. Meanwhile, she worked as an art teacher in various schools, especially Üsküdar Sultantepe Secondary School, Kadıköy Art Institute and Moda Girls' Art School. Although the artist described his works in this period as 'realistic', he did not interpret his subjects in a purely realistic manner. While Turan depicted subjects from daily life such as fishermen, school children, and markets, he handled the themes from a structural perspective and interpreted them with his brush. He took part in the Homeland Journeys project initiated by the Republican People's Party in 1941. As part of this project, he went to the southwestern province of Muğla and painted working people there, such as tobacco farmers, sponge hunters and dried fig packers.

In 1947, he went to Paris with a scholarship from the French Government and continued his painting studies in various workshops. In his early years in Paris, he was influenced by abstract art like other members of his generation, and became one of the Turkish artists who changed their critical direction as a result of his experiences in that city. Unlike the previous artists who were sent to Paris as cultural ambassadors during the late Ottoman and early Republican periods and were expected to only bring existing art movements to Turkey, the generation that went to Paris after 1945 entered into dialogue with contemporary art movements. They held solo exhibitions at leading galleries of the time and participated in group exhibitions, subjecting applications to a selection process. His works have been acquired for leading museum collections in France, Belgium, Denmark, the Netherlands and Austria. Initially, Turan printed lithographs and etchings by artists such as Asgar Jorn, Pierre Soulages, Miró and Picasso in various original printing studios, later working as an assistant to Hans Hartung (1904-1989). This experience enabled him to absorb first-hand the artistic approach of the period, and he became one of the leading representatives of this generation. Turan's abstract paintings were exhibited for the first time in a group exhibition called 'La Rose des Vents' (Pinwheel) in Paris in 1948.

He opened his first nonfigurative personal exhibition in 1950 at "Gallery Breteau" and later exhibited his works in "Salon de Mai" and "Salon de Comparaison". The artist, who also made marble sculptures between 1975-79, created his first moving sculptures, called mobile, in 1976. Turan, who painted landscapes and paintings with social content under the influence of impressionism and cubism before Paris, later turned to abstract art. Line and stain harmony, balance, relationship and compositional character are the main qualities that determine Selim Turan's abstract works. He created lyrical abstract and figurative abstract works under the influence of Eastern arts, calligraphy and Anatolian folklore. He is among the pioneers in Contemporary Turkish Painting with his abstractist works. He died in Paris in 1994.