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Abstract


AVNI LIFIJ’S AUTHENTIC PLACE IN THE 1914 GENERATION
Avni Lifij, who was born in a village of Samsun in 1886, took firm steps toward being a knowledgeable and intelligent artist since his childhood. As a common person in the development that was brought to cultural and social life during the Second Constitutional Period, he advanced in his aim’s direction with his passion, ability, and hardworking nature. His struggle to learn French, attending Anatomy lessons in Civil Medical School, and receiving Physics and Chemistry lessons in Pharmaceutics School to learn about painting technique and material science are evidences for him to be an equipped and well-raised artist. “Self Portrait with a Pipe” (1908-1909), which he made without an academic education, earned Osman Hamdi Bey’s admire and became a proficiency document for him to attend the academy and receive a scholarship in Cormon Atelier in Ecole des Beaux-Arts in Paris. After receiving art education in France from 1910 to 1914, he adopted a Romantic, Symbolic, and Expressionist style and was in a pursuit of emotional and lyric effects within his generation that is “effected by an academic Impressionism”. His powerful patterns made him successful in portraits and multi-figured organisations. With his patterns ha made with pencil, charcoal, and two or three colour pencils, he earned an authentic place in the Çallı Generation. He became important with his paintings that are not harsh, and dull colours generally balanced in the cohesiveness of one colour with their contrasts, and his ability to organize. “Criticism” is the most important component in the creation of the aesthetic discourse in art. Avni Lifij showed the struggle to form a firm foundation in criticism by using the right terminology in artistic criticism in his generation.

Keywords
1914 Generation, Avni Lifij, Turkish Impressionism, Symbolism


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