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Devrim Erbil (1937 - ) Click for Artist Information
"From Golden Horn"
Erbil and Abstractions That Make the Invisible Visible: The land masses formed by separation of rhythmic orders create the geographical sections that define Istanbul. Broken lines define districts, streets and architectural structures. Geometric designs determined on the vertical and horizontal planes make the monuments distinctive. The result is unique views of Istanbul depicted with Erbil's abstract understanding. In this context, traditional sources, which have always maintained their existence among the sources he has turned to since his education years, take their place in the designs of the compositions as clear indicators. Erbil is one of the few painters who assimilated Nakkaş Osman's El Fetihname and Nakkaş Velican's manuscript describing the conquest of Istanbul. Maybe it's the only example. He is a painter who wanders around, examines and assimilates manuscripts, old maps, and the books drawn by tax collector Nasuh and written by Evliya Çelebi. Erbil is different as an artist who examines the mosaics of the Kariye Mosque and the works of the Museum of Islamic Arts. He is a unique example, an artist with very rich cultural layers, who creates areas of reading, seeing and examining from Africa to Mesopotamia, from Anatolia to European painting, and places his resources on the heritage of world art. This difference must be what makes Erbil's Istanbul paintings privileged. The abstractions defining Sarayburnu, the Marmara, the Anatolian side and the Bosphorus, the monumental architecture of Sultanahmet surrounded by its minarets reaching to the sky, the Golden Horn floating between the pieces of land like a golden horn, and the Bosphorus connecting the two continents with silver sparkles, are transformed into works of art on Erbil's canvases as symbols that define Istanbul. Istanbul abstractions are paintings of an Erbil interpretation that evokes traditions but rises above all values attached to traditions. They are the most successful and original examples of abstract city views.
Prof. Dr. Kıymet Giray, Erbil and Abstractions That Make the Invisible Visible, Page: 38
Oil on canvas
100 x 100 cm
2017, signed
Estimate: 750.000 TL - 950.000 TL
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Devrim Erbil
Devrim Erbil (1937- )
He was born in Salihli in 1937. He studied at the Painting Department of Istanbul State Academy of Fine Arts (now known as Mimar Sinan Fine Arts University) and was a student of Halil Dikmen and Bedri Rahmi Eyüboğlu. He conducted research and investigations in various countries. Devrim Erbil's paintings with a linear character, which started with nature/tree motifs in the 1960s, gradually reached a predominantly linear composition order reduced to the surface from a bird's eye view, some of which were also influenced by the composition orders of our miniature art. The objects we perceive and see in nature, in real life, with their limited dimensions, are reconstructed in the rhythmic structure of nature in Erbil, in pure lines or in a linear structuring. Towards the end of the 1960s, these forms of expression focused on the urban views of Istanbul.
Later, in 1976, he painted "Anatolian Town", in 1977 "Anatolian Impressions" and "Istanbul" series of paintings, and after 1977, he created paintings on the subject of "birds", in which blue began to dominate, as well as city, human and nature views. Line is an element that has always existed in Devrim Erbil's art since the beginning. In these paintings of the artist, color, especially the color blue, comes to the fore as well as line; It is seen that he achieves a lively painting surface with free brush strokes, sometimes reaching the point of Stainism/Tachism. This state of mobility has become more mysterious and dynamic with vertical compositions. It is observed that he applied these composition schemes in the same and similar way in his carpets and original prints. The paintings of Devrim Erbil, who tried different techniques from painting to original printmaking and saw art in the holistic light of these experiences, reflecting the versions of a common composition form under the name of "Anatolian Variations", are exhibited at the Bedri Rahmi Eyüboğlu Workshop, as examples of a local sensitivity based on the surface texture.
They are extensions of an activity that has already begun. Although Devrim Erbil maintained the same texture after the 1980s, he started a new era by focusing on images of Istanbul, flocks of birds and coastal impressions flickering under light effects. He uses abstractions from nature in some of his paintings. The artist, who is a faculty member at Doğuş University, lives in Istanbul.
