65. ONLINE Auction; Contemporary and Modern Art
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Ömer Uluç (1931 - 2010)
Click for Artist Information”Reclining Nude”
A FAVORITE OF COLLECTORS, ÖMER ULUÇ'S MOST SOUGHT NUDE WORK FROM THE 1980'S...
Interview with Ömer Uluç about his Nude Paintings: "A good painting shows it’s meaning in a long long time. I recently paint nude woman figures. An erotism is present. I draw them from bad quality images of local paparazzi magazines and the unique poses of local models and artists in them. There are shiny and powerful colors and a liberal approach but do all of these really symbolize erotism? In my paintings, a face cannot be a face, nor a body can be a body. There should only be an absolute painting and it had to find it’s meaning, itself. That is why, in my paintings, humans are never being deformed with a motive. For example, there are no humans that have been distorted by fear or anxiety. I see this tendency of the painters for painting such subjects, as a danger. A painter that creates a mise-en-scene that is overly emphasized both emotionally and spiritually, should know that this overly emphasized meaning will disappear first. In our days, the work of art gets old really fast. Modernism brings common tastes and tendencies among artists. Today, there is a breeze of Francis Bacon, artists get attached to it and these common tastes bond the artists together; everyone starts to paint terrorized paintings. Everything gets washed in the same water, every painting is being dipped in this water. The ones who do this should know that this is the first thing to rot. Hundreds of people are talking about estrangement and everybody tells it with the same language. This truth also covers the feeling of being estranged but next thing you know, an artist who works with something else from somewhere else had managed to tell about estrangement with its own language and everything had gained a whole new aspect.
Jale Erzen, “Ömer Uluç ile Söyleşiler, Umut Burnundan Dolaşarak”, Sanatatak Yayınevi, 2013 Sayfa: 34
Acrylic on cardboard pasted on canvas
50 x 70 cm
1987, signed
Estimated Value:350.000TL - 450.000TL
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Burhan Doğançay (1929 - 2013)
Click for Artist Information"Trident"
About Doğançay's Ribbon Series:The Attack Series see Doğançay’s transformation from observing artist to speaking artist. For Ribbon Series, he definitively leaves covered wall surfaces; he begins to work in solid colors such as gray or light blue and white or black surfaces representing light and shadow. In these deceptively regular and disciplined works, Doğançay plays with light and shadow in a convincing way; however, at the heart of these works, the artist’s observation on the walls lies although his works seem to be more refinedand abstract. “Reality is not surface anymore but what lies behind it; objects that come out of the walls occupy the space we inhabit.” “Throughout his career, he’s been interested in tactile painting level where the objects reach up the audience’s space.” In Ribbon Series, works extending ahead of the surface present the struggle of volume in a powerful and afficient way. A large number of torn paper strips that come out of jagged tear hole at the background into our space or ribbons themselves or shadows create elegant patterns evoking the calligraphy. Soft-edged tears that Doğançay’s observed on the walls are pretty important for him; they bring the image in characteristic and depth. Just like the previous series by him, Ribbons Series is also can be considered as "trompe l’oeil" collage; it resembles collage but there are optical illusions. "Trompe l’oeil" is a technique to measure the talents of real painters and the way he applies this technique is the proof of his talent. Along with the metal shadow sculptures that he did in 80’s, Aubusson, Ribbons Series provide a basis for mural carpets.
Clive Giboire, “Kent Duvarlarının Yarım Yüzyılı”, İstanbul Modern, 2012, Sayfa: 142
Gouche on paper
75 x 56 cm
1978, signed
There is an e-mail of the artist's wife and the name of the work.
Estimated Value:500.000TL - 700.000TL
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Mustafa Ata
Click for Artist Information"Figurative Composition"
Ata's Confrontation With Figures: Ata has tries to express the changeability of life and the dynamism of human body by synthesizing them with colors so far. In addition, he makes use of the light shadow of George La Tour, one of the colors by Matisse. What is depicted here is the questioning of life and an endless motion that has been in man’s soul between life and death. Of course the artist is confronting with the figures and the own being. Therefore, just like he says, we can observe every aspect of life in these figures. The origin of his paintings is the German expressionists emerged during the beginning of 20th century. Using every data from colors to strengthen his expression, he actually uses an old language in terms of technique. However, what he expresses has to do with today and the self-assimilation act of contemporary human.
Esra Aliçavuşoğlu (Radikal Gazetesi, 26 Aralık 2000), “Mustafa Ata Retrospektif 2012”, Beltaş Yayınları, 2012, Sayfa: 296, 297
Oil on canvas
81 x 105 cm
1998, signed
Estimated Value:300.000TL - 400.000TL
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Komet (1941 - 2022)
Click for Artist Information"Un Reve Vert"
THE IMAGINARY, SURREALIST WORK FROM KOMET'S MOST SOUGHT PERIOD THE 80'S...
Dream, Fantasy and Reality: Have to mention that Komet isn’t painting a dream on the contrary he paints the dreams he wants to envision. And because of this Komet needs to extricate, and interpret his dreams and re evaluate his relation to the surreal. With no doubt we cannot state that the whole arrangement of Komet’s fantasies are neither unnatural or synthetic. There are the residues of his actual fantasies his dreams. In his paintings. But when he construes this real fantasy full of objects in an aesthetic and artistic set-up, it’s seems as if he sees the same dreams again. If we take this matter and evaluate it in a larger context we can say that Komet not only sees his own past, his own dreams, but others’ as well. Relevent to Komet’s position a quote from Freud about substance and meaning seems at use: “Happy people don’t dream, only those that haven’t reached complete satisfaction would do such. Unsatisfied desires are the repellant force of dreaming. Every dream is the attempt to satisfy the desire and to change the truth that with holds the attempt.” When we take his work into consideration, Komet’s life is definitely a very unhappy one. No doubt, joy has not disappeared completely, but sense of humor is ready to change to dark comedy which can turn into pain. I would like to say that Komet is seeing a big dream that can encompass all the other dreams within. Therefore the dreams in his work carry a quality of subjectivity.
Ahmet Oktay, “Komet”, Galeri Nev, 1995, Sayfa: 14, 16, 24
Oil on canvas
50 x 65,5 cm
1977, signed
Estimated Value:300.000TL - 400.000TL
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Ergin İnan (1943 - )
Click for Artist Information"Write Down The Rest Of Your Time In Your Heartbook"
Approaching A Stranger Friend: Inan portrays what is hidden and his own mysterious world. He sees the magnitude of the universe, of the cosmos in a tiny ‘dot’, in a ‘particle’. He reaches the universe from a dot, departing from a detail to reach the whole. Working, for him, requires a great concentration. This concentration means breakingthe bond with the outside world and diving into the inner world, like some kind of meditation. He creates a universe weaved with coincidences, intersections, meetings; he gets excited when he perceives the secret order of the complex. His mysticism lies in the search of the unknown. He reaches objectivity from a subjective concept in his inner world. “I do not know where I am getting to, but I am trying to sort myself out... My painting or my idea is always to draw what is in the heart. Who goes to the heart, sees the pictures that hands cannot touch, that eyes cannot see; embraces people,” he says.
Dr. Elizabeth Wagner, “Ergin İnan”, Sevil Dolmacı Art Consultant, 2017, Sayfa: 24
Oil and mixed media on canvas
100 x 70 cm
2015, signed
Estimated Value:400.000TL - 550.000TL
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Ergin İnan (1943 - )
Click for Artist Information"Icon Series"
On Faces and Bodies in Ergin İnan's Paintings: Starting from the 1970s, Ergin İnan used insects or reptiles such as butterflies and dragonflies, embryonic human figures, images of ancient cultures, water drops, calligraphy, texts written in Latin and Arabic letters, and very vivid color as elements in his paintings. Bodies that are formally fluid as water and leave behind the volatile stone of the form, intertwined double-perspective faces and eyes that refer to different states of the soul, the nature exhibition that transforms the mystery of the microcosm into a visual atlas, horoscope, fortune-telling, and talisman that symbolize the mystical aspect of the Islamic world. The plastic structure of the seal and calligraphic writing, a magical look attributed to the body's organs such as hands and feet, are reflections of Ergin İnan's visual memory.
Levent Çalıkoğlu, “Yeni Yapıtlar Yeni Ufuklar”, İstanbul Modern Yayınları, İstanbul 2009; Kıymet Giray, “Ergin İnan Resimleri Üzerine Bir Analiz - Evrenin Gizi”
Oil on wood
38 x 26 cm
2015, signed
Estimated Value:180.000TL - 260.000TL
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Ergin İnanErgin İnan (1943 - )
Click for Artist Information"Blue Abstract"
Ergin İnan or Focusing on Detail: Visual communication is essentially a dialogue we establish with ourselves, starting from what is visible; At best, the artist gives us some clues in this direction; Thus, the definition of communication based on the principle of reciprocity has lost its validity to some extent. However, the general tendency to relate to the work of art as a means of communication resists this to the end; Because in the final analysis, every work of art is a meeting point that takes place through someone else, even if the addressee is the viewer's own self. Inan, on the other hand, is pushing this communication opportunity downhill and running into difficulties, not because the code he sees is mysterious and closed, but because it is so open - the viewer has silently fallen into the trap of obviousness. Accordingly, the free movement space we have when interpreting a deformed object is automatically narrowed in the public repetition of the same thing with a realistic representation; in interpretation; At least a special effort is required not to ignore the syntactic concern that constitutes the other half of the picture, otherwise the story has slowly taken the place of interpretation. In fact, nothing is as foreign to İnan as the desire to hide behind the password; However, this is exactly why he finds himself behind an encrypted world; At least for us, this is the case... Believe me, leaving the audience to their own devices proves the privilege of being creative. As long as a form is considered picturesque, it can well be abstracted from its realistic context, even if it clearly refers to the outside world, because contemplation has already bypassed and canceled out its meaning.
Mehmet Ergüven, “Ergin İnan”, YKY Yayınları, 1996, Sayfa: 3, 4
Mixed media and oil on canvas
220 x 84 cm
2014, signed
Estimated Value:600.000TL - 900.000TL
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Ergin İnan (1943 - )
Click for Artist Information"Figurative Composition"
On the Elements of Ergin İnan's Painting: In his fantastic realistic paintings, the continuity of multidimensional, multi-meaningful and multi-image beings is handled in an ecological, biological and spiritual context, and he uses cultural images as well as universal images. Calligraphy, religious book pages, written surfaces reminiscent of old tombstones, portraits, faces, words, hands and insects are included in these paintings in a new and original form of expression. None of the images used are new, unknown or created images. They are objects that can be clearly seen by the artist as objects that are known with all their realities. The line and depiction concerns and technical mastery of the Renaissance masters reach the East-West synthesis with Ergin İnan's mystical quests, and are done extraordinarily without the natural need for abstraction. The artist searches for his inner world in nature and combines painting and writing when depicting the objects, insects or embryonic people he chooses. He uses color as an element with bright paint layers of colors, without paying attention to the third dimension, with meticulousness in texture and detail. Lines are used as cracks or as stains and tones on the paper. While making references to the past with torn and yellowed page surfaces that give the effect of age, it produces works that have an overriding psychological aspect with their connotations of metaphysical emotions. In works shaped with this mythical sensitivity, the dialectic of life and death that all living creatures face, from the most primitive and simple creatures to the most developed humans, is emphasized, and life and death do not exist face to face, but side by side and complementary to each other.
Ayla Ersoy, “Günümüz Türk Resim Sanatı”, Bilim Sanat Galerisi Yayınları, İstanbul 1998
Mixed media on canvas
117 x 88 cm
signed
Estimated Value:350.000TL - 450.000TL
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Ergin İnan (1943 - )
Click for Artist Information"What A Nice Beauty With A Colorful Body "
Mixed media on hahnemuhle paper pasted on canvas
134 x 104 cm
2019, signed
The work has a certificate of authenticity prepared by Ergin İnan.
Estimated Value:70.000TL - 90.000TL
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Zekai Ormancı (1949 - 2008)
Click for Artist Information"Composition"
Zekai Ormancı's Rare Early Work, Dated 1973...
Oil on canvas
64 x 81 cm
1973, signed
Estimated Value 60.000TL - 90.000TL
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Adem Genç (1944 - )
Click for Artist Information"Abstract Composition"
Oil on canvas
176 x 200 cm
2010, signed
Estimated Value:70.000TL - 100.000TL
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Adem Genç (1944 - )
Click for Artist Information"Abstract Composition"
Oil on canvas
120 x 100 cm
1995, signed
Estimated Value:35.000TL - 50.000TL
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Devrim Erbil (1937 - )
Click for Artist Information"Galata, Poetic Abstraction"
Mixed media on paper
74,6 x 65,8 cm
2019, signed
The work has a certificate of authenticity prepared by Devrim Erbil.
Estimated Value:40.000TL - 60.000TL
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Ahmet Oran (1957 - )
Click for Artist Information"Cherry Red Abstract"
Oil on canvas
110 x 110 cm
signed
Estimated Value:120.000TL - 160.000TL
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Canan Tolon (1955 - )
Click for Artist Information"Untitled"
Fine Art Print Ed. 73/100
54 x 33 cm
1998, signed
Estimated Valueı:16.000TL - 24.000TL
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Mehmet Gün (1956 - 2014)
Click for Artist Information"Life and Love"
Mixed media on cardboard pasted on canvas
100 x 70 cm
1984, signed
Estimated Value:14.000TL - 20.000TL
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Mehmet Gün (1956 - 2014)
Click for Artist Information"When I Look in Your Eyes"
Mixed media on cardboard
100 x 70 cm
1984, signed
Estimated Value:14.000TL - 20.000TL
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Tanju Demirci (1961 - 2016)
Click for Artist Information"Composition"
Oil and mixed media on canvas
90 x 90 cm
2008, signed
Estimated Value:14.000TL - 22.000TL
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Cömert Doğru (1977 - )
Click for Artist Information"Beta Rising 3 "
Oil on canvas
115 x 146 cm
2012, signed
Estimated Value:50.000TL - 70.000TL
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Nesren Jake (1984 - )
Click for Artist Information"Candy Shop"
Acrylic on canvas
125 x 100 cm
2022, signed
Estimated Value:30.000TL - 45.000TL
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İlkem Güneri (1994 - )
Click for Artist Information"I Change My Mind"
Oil on canvas
70 x 60 cm
2023, signed
Estimated Value:25.000TL - 35.000TL
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Raşit Altun (1980 - )
Click for Artist Information"Holy Light"
Oil on canvas
130 x 150 cm
2011, signed
Estimated Value:120.000TL - 180.000TL
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Murat Pulat (1978 - )
Click for Artist Information"Untitled"
Oil on canvas
180 x 180 cm
2013, signed
Estimated Valueı:80.000TL - 120.000TL
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Alp Tamer Ulukılıç (1957 - )
Click for Artist Information"Figurative Composition"
Oil on canvas
130 x 140 cm
2005, signed
Estimated Value:40.000TL - 55.000TL
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Tanju Demirci (1961 - 2016)
Click for Artist Information"Abstract"
Oil on wood
145 x 55 cm
This work has a certificate of authenticity.
Estimated Valueı:12.000TL - 20.000TL
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