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EYÜP SULTAN SYMPOSIA I-VIII: SELECTED ARTICLES 109 Assistant Profesor Dr. Ahmet Kamil GÖREN He was born in Istanbul in 1956. After having graduated from the Department of Archaeology and Art History of the Faculty of Literature of the Istanbul University in 1987, he received his master’s degree in 1990, from the same department, with a thesis titled, “The Place and Importance of Hüseyin Avni Lifij within Turkish Painting.” He received his doctorate in 1995 with a thesis titled “The Problems Concerning Human Form as Encountered by Turkish Painters of the ‘1914 Generation.’“ In 1992 he started working at the Art History Department of the Faculty of Literature of the Istanbul University; currently he is an assistant professor in that institution. He teaches Westernisation in Turkish Art and European Painting, Sculpture and Architecture. He has written various books and articles on Turkish painting. MINORITY, LEVANTINE AND FOREIGN PAINTERS WHO DEPICTED EYÜPSULTAN

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Assistant Profesor Dr. Ahmet Kamil GÖREN

He was born in Istanbul in 1956. After having graduated from the Department ofArchaeology and Art History of the Faculty of Literature of the Istanbul University in 1987, he

received his master’s degree in 1990, from the same department, with a thesis titled, “The Place andImportance of Hüseyin Avni Lifij within Turkish Painting.” He received his doctorate in 1995

with a thesis titled “The Problems Concerning Human Form as Encountered by Turkish Painters ofthe ‘1914 Generation.’“ In 1992 he started working at the Art History Department of the Facultyof Literature of the Istanbul University; currently he is an assistant professor in that institution.He teaches Westernisation in Turkish Art and European Painting, Sculpture and Architecture.

He has written various books and articles on Turkish painting.

MINORITY, LEVANTINE AND

FOREIGN PAINTERS WHO

DEPICTED EYÜPSULTAN

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After having studied individually all theartists that depicted or photographed EyüpSultan, which has always been such an impor-tant area of Istanbul that it has attracted bothlocal and foreign artists, we worked to preparean extensive study titled “Eyüp Sultan as seenby Artists”. The prints included in the first sec-tion of this study were presented with thetitle,”Eyüp in Prints”, by art historian GündegülParlar, during the First Eyüp SultanSymposium, held on 9-10-11 May 1997.1 Weknow that in addition to prints, paintings aboutEyüp Sultan, in various techniques like oil paint,water colour, pastel etc., were also done byTurkish and some foreign and Levantinepainters. Last year we presented the Turkishpainters who depicted Eyüp Sultan2 and thisyear we shall present minority, Levantine andforeign painters.

During our research we found examples ofpaintings about Eyüp Sultan made by Levantineand foreign painters, but as of now we have notbeen able to find a painting about Eyüp Sultanby a minority artist. Nevertheless it is probablethat there should also exist paintings by minori-ty artists on this subject. It is for this reason thatwe have also chosen to include in minorityartists our study, since they were part of thesame artistic context, even though they did not,at least apparently, depict this subject.

One notices that, beginning from the 1850’s,the artistic world of Istanbul, which was theadministrative and cultural centre of theOttoman Empire, acquires a rather complexstructure. In the second half of the 19th century,Turkish paintings began to resemble theirEuropean counterparts. Even though thepainters of the Ottoman Empire were all ratherdifferent from each other, this variety can beanalysed on the basis of its common points.Some of the painters were graduates of militaryschools while some of civilian schools and somehad studied in Europe while others within theOttoman territory. While some of the painterswere members of the Christian minorities, oth-

ers were Europeans who had settled in theMiddle East or mixed with the locals by meansof marriage, in other words Levantines.Preziosi, whose work we shall be studying inthis article, could be considered a foreign artist,but having settled in Istanbul and having beenburied at his death in a Latin cemetery at theYeflilköy district of Istanbul, can also be consid-ered a Levantine artist.

OTTOMAN CHRISTIAN ANDOTTOMAN JEWISH ARTISTS

We can comfortably state that the artistsfrom the Christian minorities of the OttomanEmpire made an important contribution to theWesternisation process of Turkish painting.3

Minorities also played an important role in gen-eral in the history of the Ottoman Empire’sdevelopment. In the 1530’s the total populationof Ottoman lands was 6.5 million and of these,520,000 or in other words 8% of the total wereminorities. In the 19th century (in 1844 to bemore exact) this percentage increased to 18.7%,which meant that out of a total of 16 million, 3million were minorities.4 In 1906 this percent-age had reached 34%, with 5.3 million non-Muslims versus 15.5 million Muslims.5 As forthe situation in Istanbul, 50% of its populationwas made up of non-Muslims and of these 40%were Ottoman subjects, while 10% were foreign-ers. Almost all foreigners lived in the districts ofGalata and Pera. Due to how common theFrench language had become then in Pera, thatdistrict felt like a smaller version of Paris. At theend of the 19th century, there were 70.000 pupilsstudying in French. In 1836, while the firstnewspapers in Turkish, like the Takvim-i Vekayi,Ceride-i Havadis and Tercüman-› Hakikat had atotal print run of 32,000 among them, newspa-pers in foreign languages were printed in morethan 60,000 copies. Among the newspapers inforeign languages, those in English or Frenchwere printed in 25,000 copies, while those inGreek in around 17,000 - 18,000 copies. With itsmodern shops, theatres, European style enter-

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1. For more information andbibliography on this subject,see: Gündegül Parlar,“Gravürlerde Eyüp,” I.Eyüpsultan SempozyumuTebli¤ler, published by theMunicipality of Eyüp,Istanbul, 1997, pp. 23-32.

2. Ahmet Kamil Gören,“Türk Resim Sanat›ndaEyüpsultan’› BetimleyenRessamlar,” II. EyüpsultanSempozyumu Tebli¤ler, 8-10 May 1998, published bythe Municipality of Eyüp,Istanbul, 1998, pp. 238-259.

3. Semra Germaner, “1850Sonras› Türk ResmindeKaynak ve Konular,” OsmanHamdi Bey ve DönemiSempozyumu, 17-18 December1992, Tarih Vakf› YurtYay›nlar›, Istanbul, 1993, pp.69-74; Sezer Tansu¤, Ça¤daflTürk Sanat›, Remzi Kitabevi,Istanbul, 1986, pp. 37-38;Semra Germaner, “Bat›Tarz› Resmin ‹stanbulYaflam›na Kat›l›fl› ve YerAld›¤› Ortamlar,” 19. Yüzy›l‹stanbul’unda Sanat Ortam›,(Habitat II’ye Haz›rl›kSempozyumu, 14-15 March1996, papers), Sanat TarihiDerne¤i Yay›n›, Istanbul,1996, p. 132.

4. Stefanos Yerasimos, AzGeliflmifllik Sürecinde Türkiye,Bizans’tan 1971’e, (3rd print-ing), Istanbul, 1980, page324, fn. 1015; Ömer LütfüBarkan, “Osmanl› ‹mpara-torlu¤unda Nüfus ve AraziSay›mlar› ve ‹statistikleriyle‹lgili Defter-i Hakaniler,” fn.1016, A. Ubucini, Lettres surla Turquie, ‹ktisat FakültesiMecmuas›, vol. II, Istanbul1940; Tu¤ray KaynaknurNirven, “Bat›l›laflmaDöneminde ‹stanbul’unAz›nl›k, Lövanten veYabanc› Sanatç›lar›,” ArtistPlastik Sanatlar Dergisi,Istanbul, November-December, pp. 25-27.

5. Mustafa Cezar, XIX.Yüzy›l Beyo¤lusu, Akbank,Istanbul, 1991, p. 356.

6. ‹. Aksü¤ür Duben, 1873-1908 Pera Ressamlar›,Beymen, Istanbul, 1990, p. 7.In addition see: the follow-ing publication in footnote 2of the previous work,

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tainments, foreign schools, bank main officesand embassies, Pera appeared as the symbol ofthe empire’s drive towards modernisation andWesternisation.6 In parallel to the political tur-bulence that the Ottoman Empire went throughin this period, the world of Ottoman art was alsovery dynamic. The art of painting was taken upespecially by minorities rather than by Turks andamong the minorities it was especially theArmenians, who were active in this field. Amongthese we may mention Sarkis Direnyan (Istanbul1860 - died in Paris, but the date is not known),M›g›rd›ç Civanyan (Istanbul 1848 - 1906),Yazmac›yan, Rupen Manas (Istanbul 1810/15 -his death must have occurred sometime after1875), Tuzcuyan, Azaryan, Miflçiyan, KirkorKoçeo¤lu (Istanbul circa 1845 - Paris 1883).Among these painters, M›g›rd›ç Civanyan is themost famous. His paintings are noteworthy forthe presence of a sentimental atmosphere. It isknown that Civanyan also worked in the deco-ration of various buildings. We also knowabout a certain Kapriyel Kalfa (M›g›rd›çyan),who worked for the decoration of theDolmabahçe Palace’s Muayede Hall (where theSultan received in state). One should not con-fuse Kapriyel M›g›rd›çyan with M›g›rd›çCivanyan, who worked on the decoration of theBeylerbeyi Palace. Among Greek painters wecould mention Hac› Anesti.7 An article byKevork Pamukciyan, who has made a very indepth study of this subject, is very useful alsobecause of the detailed bibliography added to it.In this article Pamukciyan has listed 24Armenian painters, who between 1873 and 1908participated in exhibitions held in Beyo¤lu. Ofcourse there is the fact that Pamukciyan skippedfrom 10th to 12th, omitting 11th place, so theartists are actually 23. If we add M›g›rd›çCivanyan’s brother Harutyun Civanyan, whowas also a painter, but did not participate in anyexhibition, we once again reach the number of24. These artists were: 1. Viçen Abdullah(yan)(Born in Istanbul in the 1840’s - died in the samecity in 1900). He is the brother of the famouscourt photographers Kevork (1839 - 1882) and

Hosvep Abdullah (? - 1902). 2. Simeon Agopyan(Istanbul 1857 - 1921), known as a landscape andportrait artist. 3. Anna Aslanyan (not much isknown about her life). Probably, she was thesister of Viçen Aslanyan and wife of OskanEfendi. She participated with one painting eachin the exhibitions inaugurated in Beyo¤lu on15th April 1902 and on May 1903. 4. N›vartAslanyan (not much is known about her life).Probably she was the sister of Anna Aslanyanand participated in the exhibition inauguratedin Beyo¤lu on 15th April 1902. 5. ViçenAslanyan (Istanbul 1866 - 1942), in 1881 heenrolled in the Sanayi-i Nefise Mektebi (as theFine Arts Academy was known in those years)from where he graduated in 1887. He partici-pated with four paintings in the exhibition inau-gurated in Beyo¤lu in May 1903. Three of hispaintings were exhibited in the GalatasarayExhibition in 1921. 6. Aram Bakkalyan (Istanbul1875 - Paris 1959), he enrolled in the Sanayi-iNefise Mektebi in 1890. In 1902 he entered theAcadémie Julian in Paris and graduated from it.He is known for his still lives and Istanbul land-scapes. 7. M›g›rd›ç Civanyan (Istanbul 1848 -1906) frequented the Academy of Design andPainting opened by Pierre Désiré Guillemet andwife. He studied in Italy in 1876 - 1879, wherehe also sang in operas. He participated in theexhibition organised by the Elifba Club in 1881,at the Petits-Champs Gardens in Tepebafl›, withfour floral paintings. In 1894 his paintings wereexhibited in the Russian Embassy in Beyo¤lu.Also his younger brother Harutyun Civanyanwas a painter and painting instructor. 8. SarkisDiranyan (born in Istanbul in 1860 circa, diedprobably in Paris on an unknown date). Hestudied at Guillemet’s Academy of Design andPainting in 1875. In 1883 he exhibited his worktitled “The Sorceress” at the photographic stu-dio of the Abdullah Brothers. Upon its sale, heused the proceeds to finance his studies at theFine Arts Academy in Paris, from where hegraduated in 1889 as a student of Jean-LéonGérôme. He won the honour prize in theInternational Paris Exhibitions of 1892 and 1900.

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Kemal Karpat, OttomanPopulation 1830-1914Demographic and SocialCharacteristics, TheUniversity of WisconsinPress, 1985, pp. 95-105; inaddition the Touring Clubof Turkey published a bookwith extensive informationabout Beyo¤lu, by SaidDuhani, Eski ‹nsanlar EskiEvler XIX Yüzy›lda Beyo¤lu’-nun Sosyal Topografisi,(Translated by CemalSüreya), Istanbul, 1982; SaidDuhani, Beyo¤lu’nun Ad›Pera ‹ken (Geri DönmeyecekZamanlar), (Translated fromFrench by Nihal Önol),Çelik Gülersoy Vakf› ‹stan-bul Kütüphanesi Yay›nlar›,Istanbul, 1990. Cezar’s worktitled XIX Yüzy›l Beyo¤lusu,should be studied in itsentirety.

7. Sabiha Tansu¤, Ça¤daflTürk Sanat›, p. 39 and fn. 33;Pars Tu¤lac›, Osmanl›Mimarl›¤›nda Bat›l›laflmaDönemi ve Balyan Ailesi,‹nk›lap ve Aka Yay›nevi,Istanbul, 1981, pp. 180, 207;Adolphe Thalasso, L’ArtOttoman, Les Peintres deTurquie, Paris 1910, facsimilereprint by Arkeoloji veSanat Yay›nlar›, Istanbul1988, p. 11; Pars Tu¤lac›,The Role of The Balian Familyin the Ottoman Architecture,(2nd ed.) YÇK (Yeni Ç›¤›rKitabevi), Istanbul, 1990,pp. 180 and 397; KaynakNirven, ibid. p. 27; KevorkPumukciyan,“ 1867 Y›l›Paris Sergisine Kat›lanOsmanl› Sanatkârlar›,” Tarihve Toplum, volume 18, num-ber 105, ‹letiflim Yay›nlar›,Istanbul, September 1992,pp. 35/163 - 37/165.

8. Kevork Pumukciyan,“Osmanl› Döneminde ‹stan-bul Sergilerine Kat›lanErmeni Ressamlar,” Tarih veToplum, vol. 14, number 80,‹letiflim Yay›nlar›, Istanbul,August 1990, pp. 34/98 -41/105.

9. Jean M›chel Casa, LePalais de France à Istanbul /‹stanbul’da bir Frans›z Saray›,Yap› Kredi Yay›nlar›,Istanbul, 1995, p. 83.

10. Kevork Pumukciyan,

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9. Telemak Ekserciyan (Istanbul 1840 - 1891) wasa student of Apraham Sakaryan and lived inBeyo¤lu in 1870 - 1872. He participated in thefirst painting exhibitions inaugurated at theMekteb-i Sanayii (School of Industry) atSultanahmed on 27th April 1873 and at theDarülfunun (university, at the building present-ly occupied by the Press Museum) on 1st July1875. 10. Esayan (very little is known abouthim). There is a certain fiavarfl Esayan who wasa designer and painter, born in Talas in 1850 anddied in Aleppo in 1937, who taught painting inIstanbul before 1899, who may be the abovementioned Esayan. He participated in an exhi-bition inaugurated in 1896, in the AngelidisShop, in Beyo¤lu at number 331 Cadde-i Kebir(the main road of Beyo¤lu). 12. (11th place hasbeen omitted, skipping from 10th place directlyto 12th) Kirkor Köçeo¤lu (Istanbul 1845 - Paris1883). He participated in the exhibitions on 1stJuly 1875 at the Darülfünun, in September 1880at the Tarabya Greek Girls’ School and at theexhibition organised by the Elifba Club inTepebafl› on 8th April 1881. The inscriptions atthe Zühtü Pafla Mosque in K›z›ltoprak weremade by him. 13. Rupen Manas (Istanbul1810/15 - 1875). In 1847 he was the chief inter-preter of the Ottoman Embassy in Paris. In 1869he served as the Ottoman consul in Milan. Heparticipated in the exhibition held on 1st July1875 at the Darülfünun. In 1850 he did a portraitof Fatma Sultan (1840 - 1883), eldest daughter ofSultan Abdülmecid.8 A 93x124 cm. oil-paintingportrait of Sultan Abdülmecid, dated 1850 in thebuilding of the former French Embassy is alsonoteworthy.9 14. Mihran Mardikyan (date andplace of birth unknown - died in Istanbul in1907). Participated in the exhibition inaugurat-ed in Beyo¤lu in 1896. 15. M›g›rd›ç Melkonyanwas born at the beginning of the 19th century -date and place of death unknown). He partici-pated with two portraits, one of the AbdullahBrothers, the other of Madame Leval, in theTepebafl› exhibition on 8th April 1881.According to Pamukciyan, it is more probablethat these two portraits were painted by Melkon

Diratzuyan (1837 - 1904?). 16. O. Miaser (notmuch is known about his life). He participatedwith three paintings in an exhibition inaugurat-ed in May 1903 at the Singer Shop. 17. MisakEfendi (not much is known also about the life ofthis artist). He is mentioned among the partici-pants of the Tepebafl› exhibition inaugurated on8th April 1881. 18. Yervant Oskan Efendi(Istanbul 1855 - 1914). He is very famous as asculptor, painter, instructor and administrator,within the context of Ottoman art. He studied atthe Fine Arts Academy of Rome in the years1873 - 1877. He enrolled in the Paris Fine ArtsAcademy in 1878. In that same year he partici-pated in an international exhibition held inParis. He began teaching at the Sanayi-i NefiseMektebi on 1st March 1883. He participatedwith six marble busts and three paintings in the“Istanbul Salon” painting and sculpture exhibi-tion, inaugurated in Beyo¤lu in 1901. He partic-ipated with three paintings and two statues inthe second edition of this exhibition, held in1902. In 1883 he participated in the excavationof the Nemrud Mountain tumulus, togetherwith Osman Hamdi Bey. He married one of thesisters of Vicen Aslanyan (either N›vart orAnna). 19. Apraham Sakayan (Istanbul 1821 -1876). He was sent to Paris to study painting.He participated in the exhibition at theDarülfünun on 1st July 1875. 20. RupenSeropyan (Van 1875/76 - Istanbul 1917). Hegraduated from the Sanayii-i Nefise and fromthe Académie Julian in Paris. He participated atan exhibition at Bab-› Ali on 3rd October 1907.21. Serpasyan (not much is known about herlife). According to Pamukciyan her true namewas Ç›rpaflyan. There was a family with thissurname once in Van, whose members are nowliving in Erivan or Paris. She is mentionedamong the participants of the Darülfünun exhi-bition on 1st July 1875. 22. Serviçen (born incirca 1845, nothing is known about his death).He is mentioned among Ottoman artists partici-pating in the 1867 Paris International Exhibition.23. Bo¤os fiafliyan (nothing is known about thedates when he was born and died). He partici-

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ibid., for additional exam-ples and information, seeAhmet Kamil Gören,“Osmanl›‹mparatorlu¤u’nunBat›l›laflma Çabalar›Ba¤lam›nda 19. Yüzy›lSanat Ortam›n› OluflturanAz›nl›k, Levanten veYabanc› Ressamlar,” Antik& Dekor, p. 40, Istanbul,April 1997, pp. 88-89.

11. Semra Germaner, “19.Yüzy›l Bat› Resminde ‹stan-bul Manzaralar›,” SanatTarihi Etkinlikleri VII, (con-ference notes), 28thNovember 1996 Thursday18.30, Istanbul Beyo¤luAksanat; for detailed infor-mation on how the subjectof Istanbul was taken up inprints and travelogues, see:Necla Arslan, Gravür veSeyahatnamelerde ‹stanbul,(18. Yüzy›l Sonu ve 19.Yüzy›l), ‹stanbul, 1992,Necla Arslan, “Gravürlerin19. Yüzy›lda ‹stanbul’unKültür ve SanatOrtam›ndaki Yeri,” 19.Yüzy›l ‹stanbul’unda SanatOrtam›, (papers for theHabitat II PreparatorySymposium 14-15 March1996), Sanat Tarihi Derne¤iYay›n›, pp. 63-74; NeclaArslan, “19. yy. ‹stanbul’unKültür ve Sanat Ortam›ndaGravürlerin Yeri,” SanatsalMozaik, p. 13, Istanbul,September 1996, pp. 18-26;for detailed information onartists depicting Istanbulsee, Ahmet Kamil Gören,“‹stanbul Ressamlar›,” ArtistPlastik Sanatlar Dergisi, p.20,Istanbul May 1993, pp. 16-17; Ahmet Kamil Gören,“Istanbul Impressions of theArtists,” ICOC, Issue 45,Istanbul, December 1995,pp. 64-77; Ahmet KamilGören, “GeçmifltenGünümüze Gravürlerde,Minyatürlerde, Tablolarda‹stanbul Temas›, ‹stanbul’uBetimleyen Ressamlar,”Antik-Dekor, p. 33, Istanbul,February 1996, pp. 160-164;Mehmet Özel (ed.),Ressamlar›n F›rças›ndan /From the Paintbrush of theArtists, Istanbul, CultureMinistry, Ankara, 1995; for

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pated in the exhibition in September 1880 at theTarabya Greek Girls’ School and in the exhibi-tion inaugurated on 8th April 1881 at Tepebafl›.Both exhibitions were organised by the ElifbaClub. 24. Melkon Diratzuyan (Istanbul 1837 -1904). As we mentioned when presentingM›g›rd›ç Melkonyan, it is thought that thepainter, who participated in the exhibition on8th April 1881, was Melkon Diratzuyan. Hegraduated first from the Murad - RapayelyanSchool in Venice in 1857 and then from the FineArts Academy in that same city. He was famousas a portrait artist. During the 1870 Beyo¤lu fire,around forty of the paintings he brought fromVenice burned.10

LEVANTINE AND FOREIGNPAINTERS

During the same period there were alsoLevantine and foreign painters who were muchadmired by Ottoman Sultans. It was during the18th century that foreign painters began to cometo the lands of the Ottoman Empire and in par-ticular to Istanbul, with a certain frequency. Anoteworthy aspect of the works of that period isthe existence among them of many illustrationsand paintings that did not correspond to reality,but owed a lot to imagination. An importantpart of the foreign painters working in theOttoman Empire in those days were engraverswho did the illustrations for all the traveloguesbeing written and published in the same years.In those years the output of illustrations andpaintings having Istanbul as subject increasedand even though there were good quality worksamong them one cannot say that they reachedthe heights reached by Renaissance paintings.11

The following are the Sultans who reigned dur-ing the period when foreign artists began tocome to the Ottoman Empire, beginning fromAhmed III at the beginning of the 18th century,when it is thought that the process ofWesternisation began: Ahmed III (1703 - 1754),Mahmud I (1730 - 1754), Osman III (1754 - 1757),Mustafa III (1757 - 1774), Abdülhamid I (1774 -

1789), Selim III (1789 - 1807), Mustafa IV (1807 -1808), Mahmud II (1808 - 1839), Abdülmecid(1839 - 1861), Abdülaziz (1861 - 1876), Murad V(1876 - 1876), Abdülhamid II (1876 - 1909),Mehmed V Reflad (1909 - 1918) and Mehmed VIVahideddin (1918 - 1922). The period we aregoing to study with particular attention beginswith Selim III, who was overthrown in 1807 andincludes Mustafa IV, Mahmud II, Abdülmecid,Abdülaziz, Murad V and Abdülhamid II. As forthe painters to come to the Empire, we knowthat first of all there was the Parisian fashion ofthe Turquerie (Turkish things), which laterbecame a romantic attachment to the MiddleEast.12 During the reign of Selim III, at the endof the 18th century, first Ignatius Mouradgead’Ohsson and then the French Ignace Mellingcame to Istanbul. Among these two, d’Ohssonpresented Selim III with his book illustratedwith prints and titled Tableau Général de l’EmpireOthoman. Melling on the other hand felt a greatattraction towards Hatice Sultan, sister of SelimIII. In addition to his projects for palaces,Melling illustrated and published a book withprints that constitutes a very important set ofdocumentation concerning Istanbul at the endof the 18th and beginning of the 19th century.13

After the one-year reign of Mustafa IV in1807 - 1808, relations with the West continuedduring the reign of Mahmud II, during 1808 -1839. In this period, Istanbul saw the presenceof famous English engravers who made printsillustrating travelogues of Oriental countries.These were William Henry Bartlett (1809 - 1854),who came to Istanbul for the first time in 1834and Thomas Allom (1804 -1872), who lived inIstanbul in 1836 - 1838. Allom illustrated RobertWalsh’s “Constantinople and the Scenery of theSeven Churches of Asia Minor,” published inLondon in 1839 in two volumes. Bartlett illus-trated Miss Julie Pardoe’s famous “The Beautiesof the Bosphorus” printed in London in 1838.These artists, who contributed to the formationof an artistic colony in Beyo¤lu and to the gen-eral knowledge concerning Istanbul in Westerncountries, were also known as “Early

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detailed information onpainters depicting Istanbulduring the 18th century,see: Auguste Boppe, LesOrientalistes Les Peintres duBosphore au XVIIIeme Siècle,ACR Edition, Les Editionsde l’Amateur, Paris 1989(Boppe [1862 - 1921] wasalso France’s ambassador inthe Ottoman Empire);Aykut Gürça¤lar, “Hayali‹stanbul Manzaralar›,”(‹.T.Ü. Institute of SocialSciences, unpublished doc-torate thesis), Istanbul, 1996.

12. Semra Germaner -Zeynep ‹nankur,Oryantalizm ve Türkiye, TürkKültürüne Hizmet Vakf›Sanat Yay›nlar›, Istanbul,1989, pp. 59 and 67; GünselRenda, “Avrupa Sanat›ndaTürk Modas›,” SanatÜzerine, Hacettepe Üniver-sitesi Güzel SanatlarFakültesi Yay›nlar›, Ankara,1985, pp. 39-50.

13. Semavi Eyice, “19.Yüzy›lda ‹stanbul’da Bat›l›Yazarlar, Ressamlar,Mimarlar, Edebiyatç›lar veMüzisyenler,” 19. Yüzy›l‹stanbul’unda Sanat Ortam›(papers for the Habitat IIPreparatory Symposium 14-15 March 1996), Sanat TarihiDerne¤i Yay›n›, Istanbul,1996, pp. 25-26; AntoineIgnace Melling, VoyagePittoresque de Constantinopleet de Rives du Bosphore, Yap›Kredi Bankas›, Istanbul(undated) (facsimile repro-duction of the Paris 1809 -1819 edition, but in a small-er size).

14. Semra Germaner -Zeynep ‹nankur, ibid., pp.77-78; Mustafa Sevim (ed.),Gravürlerle Türkiye, Istanbul,volumes 1, 2, 3, T. C. KültürBakanl›¤›, Ankara, 1996. Inthe introduction with nopage numbers there arebiographies of theengravers, in the chaptersthere are the prints, while inthe final part there are thesources of the prints. (Thisthree volume work includes269+290+292=851 big sizedprints)

15. Semra Germaner -Zeynep ‹nankur, ibid., p. 81.

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Orientalists.”14 Since the prints of these twoartists, included in the books can be sold formuch more separately, they are very muchsought after by antiquarian bookstores and auc-tion houses.

The reforms of Mahmud II in as disparatefields as the army and public instruction,administration and clothing, were importantmilestones in the Ottoman Empire’s process ofwesternisation. During this period interest inthings Western manifested itself also in the artof painting. Developments like Mahmud IIhaving Rupen Manas sent to Paris so that hecould study painting, having his own portraitpainted and hung at the Bab-› Ali (“SublimeDoor” or in other words the see of OttomanGovernment), appointing the Italian GiuseppeDonizetti as chief of the military band and con-sequently re-orienting music towards westerncanons, the inauguration of the first theatre, theintroduction of elements of Empire andBaroque styles in architecture and design andmany more such novelties, describe the natureof this period.15

Among the artists to come to Istanbul dur-

ing the reign of Mahmud II there were theFrenchmen Alexandre-Gabriel Decamps (1803-1860) and Audrien Dauzats, the Swiss CharlesGabriel Gleyre (1808-1874) and the BelgianJacob Jacops. While up until the mid 19th cen-tury, Western artists tended to depict the archi-tectural beauties of Istanbul, its views and cos-tumes, in the second half of that century theybegan to also depict scenes from daily life inaddition to the usual subjects.16

An oil painting, about the painter of whichwe know nothing, apart from the fact that hemust have been a foreigner, shows the Fridayprayers procession (cuma selaml›¤›) of MahmudII as it was passing near the Mihriflah SultanSebil (free water distribution point) on Bostan‹skelesi Street in Eyüp Sultan. (Illustration 1) Itmay be that this painting was copied from aprint in the two volume work published in 1839,titled Constantinople and the Scenery of theSeven Churches of Asia Minor, by ThomasAllom (1804-1872), who was in Istanbul in theyears 1836-1838 and Robert Walsh. On the basisof the fact that this book was published in 1839,we can also reach the conclusion that this

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Illustration 1. Anonymous,“Mahmud II’s FridayPrayers Procession atEyüp”, 37x45 cm., oil paint-ing on canvas.(Anonymous, Antik A.fi.185th Auction, Istanbul 4thMay 1997, lot number 248)

16. Semra Germaner -Zeynep ‹nankur, ibid., p. 81,Anonymous, “Decamps,Alexandre Gabriel,”Webster’s BiographicalDictionary, A. Merriam-Webster, G. and C. MerriamCompany, U.S.A. (undated),p. 399, p. 600 of the samework, “Gleyre, CharlesGabriel.”

17. Necla Arslan, Gravür veSeyahatnamelerde ‹stanbul(18. Yüzy›l Sonu ve 19.Yüzy›l), ‹stanbul BüyükflehirBelediyesi Kültür ‹flleriDaire Baflkanl›¤›, Istanbul,1992, pp. 187-188, I wouldlike to thank the EsteemedProf. Dr. M. Baha Tanman,who provided me with hisopinions on this subject.

18. Semra Germaner -Zeynep ‹nankur,Oryantalizm ve Türkiye, pp.91-92.

19. Semra Germaner -Zeynep ‹nankur,Oryantalizm ve Türkiye, TürkKültürüne Hizmet Vakf›Sanat Yay›nlar›, Istanbul,1989, p. 137.

20. Cezar, Sanatta Bat›’yaAç›l›fl, Volume II, 2nd print-ing, pp. 448-449; M. Cezar,XIX Yüzy›l Beyo¤lusu,Akbank, Istanbul, 1991,p.276; H. Edhem, Elvah-›Nakfliye Koleksiyonu,Istanbul, 1924, (adapted tomodern Turkish byGültekin Elibal) MilliyetYay›nlar›, Istanbul, 1970,pp. 36-38; Semra Germaner- Zeynep ‹nankur, ibid.; pp.5-6, 82-83, 91-92, 95, 121,132, 153 and 167; P. Julian,

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anonymous painting must have been donesometime after that date.17

Ayvazovsky came to Istanbul for the firsttime in 1845, during the reign of SultanAbdülmecid (1839-1861) and returned twiceduring the reign of this same sultan.Ayvazovsky travelled to Istanbul once more in1874 during the reign of Sultan Abdülaziz. Thisvisit was followed by eight more visits throughthe years. He depicted various parts of Istanbul,among which also Eyüp Sultan. In the follow-ing chapter we shall see a more detailed biogra-phy of the artist and an analysis of his paintinghaving Eyüp Sultan as subject.

IVAN CONSTANTINOVICHAIVAZOVSKY

(FEODOSIA 1817 - FEODOSIA1900)

Aivazovsky was born in the Crimean townof Feodosia, the son of an Armenian family withOttoman citizenship. While he was studying athigh school in Simferopol, the sketches he drewcaught the attention of Czar Nicholas I, who in1833 gave orders for young Aivazovsky to con-tinue his studies at the Saint Petersburg ImperialFine Arts Academy. During his artistic studiesthe artist was influenced by the works ofpainters like Salvator Rosa, Ruisdael, ClaudeLorrain and Théodore Gudin, painter of mar-itime scenes. Later he was employed as assis-tant to the French maritime scene painterPhilippe Tanneur, who painted for the RussianCourt. In the 1840’s he travelled for four yearsin countries like Italy, Spain, Portugal, France,England, Holland and Malta, to develop histechnique and in the meantime he exhibited hispaintings. Upon his return to Russia, he wasappointed to the Navy Ministry as first painter.In 1844 he became a member of the Fine ArtsAcademy and in 1847 a professor. He was pre-sent at the Crimean War, about which he drewextensively in situ. In 1857 he went to Paris,where a personal exhibition of his work was

held at the “Salon de Peinture,” as a result of

which he was awarded a gold medal and the

“Légion d’Honneur.” Aivazovsky was the most

famous Russian painter of maritime scenes and

travelled extensively both in Russia and in other

countries. The more than five thousand paint-

ings done by him, had as subjects, historical

events, folk tales, the Scriptures, urban and nat-

ural scenery, as well as the maritime scenes for

which we know him.

In 1845, the artist embarked on a ship under

the command of Admiral Lütke, founder of the

Russian Geographical Society, to accompany

Crown Prince Grand Duke Constantin

Nikolayevich on a trip around the shores of

Anatolia and the Isles of the Aegean Sea. It was

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Illustration 2. IvanConstantinovichAivazovsky, “MoonlitEyüp,” (1874), oil paintingon canvas. (DolmabahçePalace collection) (SemraGermaner - Zeynep‹nankur, Oryantalizm veTürkiye, Türk KültürüneHizmet Vakf› SanatYay›nlar›, Istanbul, 1989, p.93)

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during this trip that he saw Istanbul for the firsttime. During the reign of Sultan Abdülmecid hecame to Istanbul twice more and gave one of hispaintings to the Sultan, who awarded to him aNiflan-› Alî decoration, Fourth Class.Aivazovsky was in Istanbul for two months, in1847, during the reign of Sultan Abdülaziz.Architect Sarkis Balyan, of whom he was theguest, presented him at court and he did manypaintings to be hung at the Dolmabahçe Palace.For this activity a Niflan-› Osmanî decoration,Second Class was awarded to him. The news-papers of the day reported that he also paintedan oil-portrait of Sultan Abdülaziz.Aivazovsky, who visited Istanbul eight moretimes during the next years, painted Istanbulscenes in romantic settings like sun-rise, dusk ormoonlit nights. In addition to these, he paintedscenes containing people as in the case of suchworks as “People getting on a boat in Istanbul”,“A coffee-house on the Tophane Wharf” and“Portrait of Murad V” and exhibited them dur-ing many exhibitions held in Istanbul. The lastand most important of these exhibitions was theone organised by his nephew in 1888, in whichtwenty-four paintings of the artist were shown.There are Aivazovsky paintings at the

Dolmabahçe Palace, the Küçüksu ImperialMansion, the Istanbul Military Museum, theIstanbul Maritime Museum, the fiale ImperialMansion, the Istanbul Armenian Patriarchate,the Çankaya Presidential Residence in Ankaraand various private collections.18

Aivazovsky’s oil painting depicting EyüpSultan is essentially a panoramic view of theGolden Horn, as seen from the Pierre Loti Hill.(Illustration 2) The Defterdarburnu area ofEyüp Sultan is visible on the right-hand side ofthe painting. Even though the artist made thispainting from a point located in a cemetery, itseems that he knowingly did not reflect this inhis painting. The main and most visible ele-ments of this painting are the full-moon high inthe sky, the tall cypress and the two people sit-ting at the bottom of the tree. On the back-ground a typical Istanbul silhouette withmosques and minarets is visible. This paintingof Aivazovsky reflects a romantic view ofnature.

The main painters to visit the OttomanEmpire during the reign of Sultan Abdülmecidwere the Germans Carl Haag (1820-1915), AdolfSchreyer (1828-1899), Maximilian Schmidt; the

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Illustration 3. AmedeoPreziosi, “Excursion on thePierre Loti Hill,” (signed),34x53 cm., watercolour onpaper. (Küsav Art Gallery,Istanbul, 1993, number 2)

The Orientalists (1st printingin English), Phaidon PressLtd., Oxford, 1977, pp. 67and 189, (Original title LesOrientalistes, Fribourg 1977),pp. 70, 188, 189, 191, 194and 196; Thalasso, ibid.; pp.11, 71 and 78; N. Berk, Türkve Yabanc› Resminde ‹stanbul,T.T.O.K. Yay›n›, Istanbul,(undated), pp. 6-8; O.Öndefl, ‹stanbul Afl›¤› RessamPreziosi, Milliyet Yay›nlar›,‹stanbul, 1972, pp. 39-44;Zeynep ‹nankur, “19.Yüzy›l›n ‹kinci Yar›s›nda‹stanbul’a Gelen Bat›l›Sanatç›lar,” Osman HamdiBey ve Dönemi Sempozyumu,17-18 Aral›k 1992, TarihVakf› Yurt Yay›nlar›,Istanbul, 1993, pp. 75-82;Zeynep ‹nankur,“Ondokuzuncu Yüzy›ldaOsmanl› Saray›’n›nRessamlar›,” 10thInternational Congress ofTurkish Art, (Summaries),Geneva, September 17-23,1995 (There are no pagenumbers in the small book-let with the summaries); forAivazovsky, see: S. Öner,“Milli Saraylar TabloKoleksiyonu Ifl›¤›nda ‹vanKonstantinoviç Ayvazovskive Osmanl› Saray›,” MilliSaraylar 1993, TBMM MilliSaraylar Daire Baflkanl›¤›,

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Belgian Jean-Baptiste Huymans (1826-?); theFrenchmen Narcisse Berchere (1819-1891),Alexandre Bida (1823-1895), Hercule Brabazon,Jean-Joseph Benjamin Constant (1845-1902),Germain-Fabius Brest (1823-1900), TheodoreFrere (1814-1888), Eugène Napoléon Flandin(1809-1876), Constantin Guys (1802-1892), JulesLaurens (1825-1901), Camille Rogier (accordingto information found on page 195 in PhilippeJullian’s book, The Orientalists, the exact dates ofthe birth and death of this painter are not known,but it is known that he lived in Istanbul and par-ticipated in many exhibitions between 1839 and1848), Adolphe Yvon, Horace Vernet (1789-1863); the Englishmen Richard Dadd (1819-1887), William Holman Hunt (1827-1910), JohnFrederick Lewis (1805-1876), and Edward Lear(1812-1888). In addition to these, the MalteseAmedeo Preziosi (1816-1882) and the BavarianJean Schranz (1794-1872), who also resided inMalta, also visited the Ottoman Empire andlived in it. After the “A View of the East” exhi-bition, artists like Carlo Bossoli (1815-1884) andIppolito Caffi (1809-1866, who worked inIstanbul in 1843) were active in Istanbul.

In the following chapter we shall see a biog-raphy of Preziosi and an analysis of his paint-ings having Eyüp Sultan as subject.

AMEDEO PREZIOSI (VALETTA1816 - ISTANBUL 1882)

Amedeo Preziosi was born in the Maltesecity of Valetta, to an aristocratic family that wasactive in local politics. He first started to paintat the atelier of Giuseppe Hyzler and continuedhis art studies at the Ecole des Beaux-Arts inParis. After his return to Malta, seeing that hisfather opposed his wish to become a painter, hemoved to Istanbul in 1842, where he stayed untilhis death.

A short while after he came to Istanbul,Preziosi became famous for his work illustratingthe daily life of Istanbul. His work can be clas-sified in two categories, beautiful views of themost attractive districts of Istanbul and scenes ofthe life of the various people inhabiting the city.The artist tried to reflect the variety of culturesin the city, within the framework of daily life, bydepicting people from different professional cat-egories and also from different ethnic groupslike Turks, Greeks, Albanians, Armenians,Bulgarians and Jews that in a way were a mirrorof the population of the Ottoman Empire. Thesepictures that Preziosi first drew with a pencil orink and then coloured with watercolours, wereamong the main souvenirs bought by the trav-

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Illustration 4. AmedeoPreziosi, “The Golden HornSeen from Pierre Loti,”40x59 cm., watercolour onpaper. (Istanbul Paintingand Sculpture MuseumCollection), (HâlenurKâtipo¤lu [ed.], MimarSinan Üniversitesi ‹stanbulResim ve Heykel MüzesiKoleksiyonu / The Collection ofIstanbul Museum of Paintingand Sculpture Mimar SinanUniversity, YKY, Istanbul,1996, p. 142).

Ankara 1993, pp. 106-119;Nikolai Novouspensky,Aivazovsky, Aurora ArtPublishers, Leningrad, 1989,p. 19; P. Tu¤lac›, AyvazovskiTürkiye’de, ‹nk›lap and AkaYay›nevi, Istanbul, 1983, pp.5 and following; G. Uzelli,“XVIII-XIX Yüzy›llarda RusResmi” (Unpublished arthistory doctorate thesis atthe Social Sciences Instituteof the Istanbul University),Istanbul, 1995; G. Uzelli,“‹van KonstantinoviçAyvazovskiy (1817-1900),”Antik-Dekor, p. 37, IstanbulNovember 1996, pp. 75-78;A. Çoker, Osman Hamdi veSanayi-i Nefise Mektebi,Istanbul, 1983, p. 10;Arseven, Türk Sanat› Tarihi,p. 131; G. ‹repo¤lu,Feyhaman, Istanbul 1986, p.18; Tansu¤, Ça¤dafl TürkSanat›, p. 93; “Haag, Carl,”Webster’s BiographicalDictionary, p. 646, at p. 149“Bida, Aexandre,” at page342 “Constant, Benjamin,”at p. 559 “Frere Theodore”at pp. 645 and 169 “Bonnat,Léon Joseph Florentin”; G.Renda, “Resimlerde ‹stan-bul,” Yüzy›llar BoyuncaVenedik ve ‹stanbulGörünümleri / Vedute diVenezia ed Istanbul Attraversoi Secoli, Istituto Italiano diCultura / ‹talyan KültürMerkezi, ‹stanbul, catalogue

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ellers coming to Istanbul in those days. That iswhy, apart from his paintings in the IstanbulPainting and Sculpture Museum, the MaritimeMuseum, the Topkap› Palace and some privatecollections, most of his paintings are outsideTurkey. Lithographic copies of his paintingswere published in two albums, “StamboulRecollections of Eastern Life” in 1858 and“Stamboul Souvenir d’Orient” in 1861. Thework of Preziosi was exhibited in Paris in 1858,in London in 1863, in Paris at the InternationalExhibition in 1867 and in Istanbul in 1880 and1881 in exhibitions organised by the ABC Club.When Preziosi noticed that beginning from the1860’s Istanbul was losing some of his exoticcharm in the eyes of Westerners, he decided tosearch for new subjects and went to Egypt in1862 and to Romania in 1868 and 1869. Very lit-tle is known about the last years of his life, apartfrom the facts that he was the court painter forSultan Abdülhamid II, lived in Yeflilköy andkept his atelier in Beyo¤lu and that he died theday after having been wounded on 27thSeptember 1882 as a result of a hunting accident,not far from Yeflilköy. He was buried at theCatholic Cemetery of Santo Stefano inYeflilköy.19

Preziosi, who was famous for the way he

managed to recreate the most beautiful cornersof Istanbul, while at the same time depictingmoments of daily life, also painted scenes ofEyüp Sultan. In one of these he painted a groupof women with ferace (long coat formerly wornby Turkish women when going out) and a smallboy with fez, during an excursion to EyüpSultan. (Illustration 3) In this painting he didnot neglect to also depict a group of the famousstray dogs of Istanbul, which throughout theyears have always attracted the attention of for-eign travellers, photographers and painters,who happened to come to Istanbul. The humanfigures are the main element of this painting,which has the houses of the Eyüp Sultan districtand its small mosques in its lower right and left-hand foreground corners, while the backgroundis occupied by a view of the Golden Horn.Apart from the usual Istanbul silhouette, theBridge of Unkapan› and the sailing boats on theGolden Horn are the other elements completingthis painting. On the left-hand far backgroundthe Çaml›ca and Bulgurlu hills are visible. Aswas the case with Aivazovsky’s “Moonlit Eyüp”(Illustration 2), Preziosi also seems to haveknowingly neglected showing tombs, which arethe most characteristic element of Eyüp. Inaddition to this, the Eyüp Sultan Mosque, which

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Illustration 5. AmedeoPreziosi, “Eyüp Seen fromPierre Loti,” (signed, 1893),40x52 cm., watercolour onpaper. (Antik A. fi. 148thAuction, Istanbul 15thNovember 1992, lot number160)

of the exhibition held on10th April - 10th June 1995,pages 13-14; for additionalinformation on artists thatdepicted the Orient, see:Do¤u’ya Bak›fl: Neoklasik’tenYirminci Yüzy›la ‹talyanGrafik Sanat›nda ‹slâmDünyas›, Istanbul, 1996 (cat-alogue of the exhibitionorganised by the NationalPalaces Directorate of theTurkish Parliament and theIstanbul Italian CulturalCentre and held on 18thDecember 1996 - 31stJanuary 1997, at theEntrance Hall of theApartment of theConcubines of the Harem ofthe Dolmabahçe Palace), pp.57, 58 and 120-121; for JeanBaptiste Huymans, see:Catalogue of the XXAuction of Antique Booksorganised by the Librairiede Péra, Istanbul 29thSeptember 1996, lot number71;* for Sarkis Direnyan’s“Men ReadingNewspapers” (a painting51x38 cm.) and for the otherworks of art at the IstanbulMuseum of Painting andSculpture, see: H. Katipo¤lu(ed.), Mimar Sinan Üniver-sitesi ‹stanbul Resim veHeykel Müzesi Koleksiyonu /The Collection of IstanbulMuseum of Painting andSculpture Mimar SinanUniversity, Yap› KrediYay›nlar›, Istanbul, 1996, p.449.

21. Semra Germaner -Zeynep ‹nankur, ibid., p. 82;THALASSO, ibid., p. 11;Semra Germaner, “Osmanl›‹mparatorlu¤u’nunUluslararas› SergilereKat›l›m› ve Kültürel

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is the most visible element of the district, hasalso been left outside this scene.

In another painting done with watercolours(Illustration 4), Preziosi depicted the tombstoneson the Pierre Loti Hill and the cypresses of thecemetery on the foreground, with a turbanedold man and a small child on a donkey and agroup of stray dogs, making up the living ele-ments of the composition. On the backgroundare visible the Mosque of Eyüp Sultan that con-trary to the previous painting, has been depict-ed in this one, further back the Zal MahmudMosque, a cluster of houses of the Eyüp Sultandistrict on the shore of the Golden Horn in thecentre, further back the Unkapan› Bridge withits two humps and the two sides of the GoldenHorn with all the characteristic elements of theIstanbul silhouette, i.e. the Galata Tower, theTower of Justice of the Topkap› Palace, HaghiaEirene, Saint Sophia, The Mosque ofSultanahmed, the Tower of Bayezid and theMosques of Süleymaniye and Fatih.

Preziosi did another painting almost identi-cal to the above-mentioned one. As in the pre-vious work, Preziosi depicted in watercolours apanoramic view of Eyüp Sultan and the GoldenHorn, as seen from the Pierre Loti Hill.(Illustration 5) The group of stray dogs, visiblein the previous painting was not repeated in thisone. Apart from this, one could say that all theother elements of this picture are the same as inthe previous one.

Also during the reign of Sultan Abdülaziz(1861-1876), who was a sultan of the period ofthe Tanzimat reforms, many Orientalist painterscame to the Ottoman Empire. Among thesethere was the Venetian Filippo (Pietro) Bello(1830/1-1909/11) (See page 226 of the catalogue,A Look to the East). Seeing that he married inIstanbul in 1866, he must have come shortlybefore that date and thus during the reign ofSultan Abdülaziz. Among the artists that paint-ed for Sultan Abdülaziz there was Pierre DesireGuillemet (1827-1878). According to informa-tion provided by Thalasso, in 1874, thanks also

to the support of the Sultan himself, Guillemetand his wife opened the first private academyteaching design and painting in the Westernsense of the word, in Kalyoncu Kullu¤u Street.According to Mustafa Cezar, who has studiedthis subject at depth and with a critical eye, thisacademy called “Design and Painting Academy,”was inaugurated in September 1874 at number 60of Hammalbafl› Street in Beyo¤lu and after athree year activity, closed down in 1877. As hasbeen previously mentioned, among others alsoSarkis Direnyan*, who lived in Paris for manyyears, and M›g›rd›ç Civanyan studied at thisacademy. Other artists of that period were theAustrian Rudolph Ernst (1855-1935), theEnglishmen Walter Charles Horsley and LordFrederick Leighton (1830-1896), the SwissLeopold Carl Müller (1834-1892 and known tohave been active in the 1850’s) and RudolphWeisse, the Italian Alberto Pasini (1826-1899),the Frenchmen Jean-Léon Gérôme (1824-1904)(came to Istanbul in 1854 [reign of SultanAbdülmecid], in 1875 [reign of SultanAbdülaziz] and in 1879 [reign of SultanAbdülhamid II]), Léon Joseph Florentin Bonnat(1833-1922) and Charles-Emile de Tournemine(1812-1872).20 Sultan Abdülaziz was present atthe inauguration in 1867 of the InternationalParis Exhibition and later went to Vienna, wherehe admired the paintings at the BelvederePalace. During this trip the Sultan bought paint-ings to be hung at the palace. In this he wasassisted by fieker Ahmed, who at the time wasstudying painting in Paris, and by OsmanHamdi. Among the paintings bought therewere works by famous artists of those days likeJean-Léon Gérôme, Adolphe Yvon, GustaveBoulanger, Washington, Van Marcke, Huguet,Harpignies, Daubigny and Schreyer.Aivazovsky, Guillemet and StanislausChlebowski were also painting for the court.21

Undoubtedly, one of the most important artisticevents of that period was the first exhibition byfieker Ahmed Pafla, who had returned from hisstudies in Paris, held at the Art School atSultanahmed in Istanbul, in 1873, two years

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Sonuçlar›,” Tarih ve Toplum,p. 95, ‹letiflim Yay›nlar›,Istanbul, November 1991,pp. 33-40; S. Öner,“Tanzimat Sonras› Osmanl›Saray Çevresinde ResimSanat›”, Milli Saraylar 1992,TBMM Milli Saraylar DaireBaflkanl›¤›, Ankara, 1992, p.58-77.

22. Semra Germaner -Zeynep ‹nankur, ibid., p. 83;Thalasso, ibid., p.15;Kaynak-Nirven, ibid., p. 24.

23. Semra Germaner - Zeynep‹nankur, ibid., p. 84; Thalasso,ibid., p. 17; Kaynak-Nirven,ibid., p. 24-25.

24. Thalasso, ibid., pp. 11,28-36, 65-70, 46-55 and 56-62; Tansu¤, Ça¤dafl TürkSanat›, pp. 40-41; Germaner-‹nankur, ibid., p. 84; S.Germaner, “Jean-LéonGérôme ve Topkap› Saray›,”Antika Dergisi / The TurkishJournal of Collectible Art, p.36, Istanbul, April 1988, pp.38-48; Semra Germaner,“Jean-Léon Gérôme”, YeniBoyut Plastik SanatlarDergisi, Year 4 / Number30, Ankara, March 1985, pp.15-17; Arseven, Türk Sanat›Tarihi, volume III, p. 132;Julian, ibid., pages 183, 184and 191; A. K. Gören, “TürkSanatç›lar›n Paris’tekiHocalar›ndan Jean-LéonGérôme (1824-1904),”,Antik-Dekor, number 34, Istanbul,April 1996, pp. 102-107; A.Gürça¤lar, “Fausto Zonarove Ça¤dafllar›n›n ‹stanbulManzaralar›” (art historythesis at the IstanbulTechnical University),Istanbul, June 1991; Z.Sönmez, “Türk Sanat›nda‹talyan Ressamlar veEtkileri,” Aslanapa Prize,Istanbul, 1996, pp. 239-252;A. Batur, “19. Yüzy›l ‹stan-bul Bas›n›nda Sanat veMimarl›k,” 19. Yüzy›l ‹stan-bul’unda Sanat Ortam›, ‹stan-bul, 1996, pp. 109-113.Among the information col-lected from newspapers atthe Atatürk Library there isthe address of FaustoZonaro’s house and atelierat Ayaspafla in Istanbul andinformation about fiekerAhmed Pafla.

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after it had been announced in 1871. In additionto fieker Ahmed, in that exhibition there werealso works by Turkish painters like Mesud Bey,Said Bey, Naim Bey, Yusuf Bahaeddin Bey andAhmed Bey and by foreign painters likeGuillemet and his wife, Hayette, teacher ofpainting at the Mekteb-i Sultani and Acquaroni.This exhibition was a milestone in the artisticlife of Istanbul, since it created an interest forpainting among the population and also a mar-ket for paintings.22 The second exhibition washeld in 1875 at the then Darülfünun building(the present day Press Museum at Çemberlitafl).In 1883, the Sanayi-i Nefise Mektebi (Academyof Fine Arts) was officially inaugurated. Also inlater years similar exhibitions were held.23

The painters active during the reign ofSultan Abdülhamid II (1875-1909) were theItalian Fausto Zonaro (1854-1929), who came toIstanbul in 1891 and Leonardo Mango (1843-1930), who came to Istanbul in 1883. SalvatoreValeri (1856-1946), who taught at the Sanayi-iNefise Mektebi in 1883, came to Istanbul in 1880.Valeri stayed on in the Ottoman Empire until1915, by which date Sultan Mehmed V Reflat hadalready ascended to the throne. Warnia Zarzacki(1850-?) came to Istanbul in 1883. The above-mentioned Jean-Léon Gérôme (1824-1904) came

to Istanbul for the first time in 1854, during thereign of Sultan Abdülmecid. Among the otherartists present in those days we could mentionthe German Ferdinand Max Bredt, theFrenchmen Albert Aublet, Edouard Debat-Ponsan, Jean-Jules Antoine Count of Nouÿ (1842-1923), Paul Alexandre Alfred Leroy (1860-1942),Emile Bernard (1868-1941), the EnglishmenFrank Brangwyn (1867-1943), Edwin Weeks, theDutchman Marius Bauer (1867-1932) and theAmerican John Singer Sargent (1856-1925).24 Wecould also add to this list Cesare Biseo (1843-1909), who drew the illustrations for Edmondode Amicis’s “Costantinopoli,” as we saw in theexhibition “A Look to the East” and GabrieleCarelli (1820-1920), who in 1884 made a water-colour painting of Istanbul.25 Even thoughbecause of religious reasons Ottoman society didnot look too kindly towards the drawing ofimages, the fact that Christian painters did nothave such religious limitations and were activein painting, over time brought a relative freedomon this subject in Ottoman circles. Another factorwith the same influence was the decisive attitudeof military painters.26 Foreign painters present inthe Ottoman Empire during the second half ofthe 19th century, painted subjects concerningIstanbul, which they perceived as an Oriental

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Illustration 6. G. C.Michelet, “The GoldenHorn Seen from PierreLoti,” oil painting on can-vas. (Alper Can Yak›n -Yüksel Kanar - Hatice Kot[ed.], Kendini Yazan A¤aç,‹stanbul BüyükflehirBelediyesi, ‹STAÇ, ‹stanbul1997, p. 251).

25. A Look to the East, pp.142-144, 172-195 and 232-233.

26. Tansu¤, Ça¤dafl TürkSanat›, pp. 37-40 and 55.

27. Semra Germaner, “1850Sonras› Türk ResmindeKaynak ve Konular,” OsmanHamdi ve Dönemi, pp. 72-73.

28. N. Bayraktar, ‹stanbulCam ve Porselenleri, Istanbul,1982, pp. 7-10; O.Küçükerman, Anadolu’nunGeleneksel Hal› ve DokumaSanat› ‹çinde Hereke Fabrikas›,Saray’dan Hereke’ye GidenYol, Ankara, 1987, p. 73;‹repo¤lu, Feyhaman, p. 20.

29. Cezar, Sanatta Bat›’yaAç›l›fl ve Osman Hamdi, vol.II, 2nd printing, pages 435-438; ‹repo¤lu, Feyhaman, p.20; Yetik, ibid., p. 110.

30. Cezar, Sanatta Bat›’yaAç›l›fl ve Osman Hamdi, vol.II, 2nd printing, pp. 442-445;Duben, Pera Res., pp. 12-13.

31. A. K. Gören, “TürkResim Sanat›ndaEyüpsultan’› BetimleyenRessamlar,” II EyüpsultanSempozyumu Tebli¤ler, p.242, illustration 15.

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town, with an Orientalist viewpoint. On theother hand the Levantine artists of Pera and envi-rons painted portraits and sacred images of reli-gious events or saints for their own churches.27

There were also a lot of painters employedby the Y›ld›z Porcelain Factory. Among these:Hüseyin Zekâi Pafla (1859-1919), Mustafa VasfiPafla (1857-1905), Halid Naci (1875-1927), OsmanNuri Pafla (1839-1906), Hoca Ali R›za (1858-1930),Ömer Adil Bey (1868-1928) and Fausto Zonaro(1854-1929).28 There were exhibitions inaugurat-ed also in this period, like the ones organised bythe Elifba Club, which were very popular. Thesecond of these, organised in 1881, saw anincrease in the number of works exhibited.29 In1901, Alexandre Vallaury, teacher at theArchitecture Department of the Sanayi-i NefiseMektebi and Régis Delbeuf, made the firstattempt to create a salon in Istanbul, within thestructure of which, painters of Istanbul couldexhibit their works. Thus the first salon inIstanbul was inaugurated at the residence of acertain Bourdon, French merchant, at the PassageOriental. This was repeated, thanks to the effortsof the same people, both in 1902 and in 1903.30

A certain Michelet, about whom we werenot able to find information, did an oil paintingwith a panoramic view of Eyüp Sultan and theGolden Horn, seen through the tombstones andcypresses on the Pierre Loti Hill. (Illustration 6)On the right hand corner the district of EyüpSultan and the Mosque of Eyüp Sultan, as adominant element, are visible. Further back onecan see the area of Ayvansaray and the citywalls. Nam›k ‹smail’s painting titled “TheGolden Horn as Seen from Pierre Loti,” whichwe mentioned in a previous publication, wasdrawn from the same perspective and what ismore interesting, with very similar characteris-tics. Thus we could state that Michelet musthave done this painting at the very beginning ofthe 20th century.31

After seeing these examples that we foundas a result of having gone through a great vari-ety of books, catalogues, pamphlets, magazines

etc., we can state that even though many printshaving Eyüp Sultan as subject were made fromthe 18th to the 19th century, especially from the19th century on, minority, Levantine and for-eign artists, preferred doing oil paintings orwatercolours of places like the Bosphorus,Fenerbahçe, the port of Istanbul at the mouth ofthe Golden Horn, Galata, Pera or Eminönü,rather than of Eyüp Sultan. We also saw howsome of the painters neglected showing thetombstones, which are a symbol of Eyüp Sultan,on the basis of their views, even at the cost ofdistorting the actual conditions of the place.Nevertheless it is clear that the paintings weredrawn as a result of observations made in thoseplaces and were not the result of pure imagina-tion as had been the case in illustrations done inprevious centuries.

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