{"id":6264,"date":"2019-03-06T00:06:43","date_gmt":"2019-03-06T00:06:43","guid":{"rendered":"http:\/\/circassiancenter.com\/tr\/?p=6264"},"modified":"2019-03-06T00:06:43","modified_gmt":"2019-03-06T00:06:43","slug":"mihri-musfik-hanim-kimdir","status":"publish","type":"post","link":"https:\/\/www.circassiancenter.com\/tr\/mihri-musfik-hanim-kimdir\/","title":{"rendered":"M\u0130HR\u0130 M\u00dc\u015eF\u0130K HANIM K\u0130MD\u0130R?"},"content":{"rendered":"

<\/p>\n

(d.1886, \u0130stanbul- \u00f6. 1954, New York)<\/p>\n

T\u00fcrkiye\u2019de \u00e7a\u011fda\u015f resim \u00e7al\u0131\u015fmalar\u0131n\u0131 ilk ba\u015flatan kad\u0131n ressamd\u0131r. \u00d6zellikle portreleriyle tan\u0131nd\u0131. Tan\u0131nm\u0131\u015f ki\u015filerin portrelerini yapt\u0131; portresini yapt\u0131\u011f\u0131 ki\u015filer aras\u0131nda Mustafa Kemal Atat\u00fcrk ve Papa XV. Benedict de vard\u0131r. K\u0131z \u00f6\u011frencilerin devam etti\u011fi bir G\u00fczel Sanatlar Akademisi olan \u0130nas Sanayi Nefise\u2019nin ilk kad\u0131n y\u00f6neticisi oldu; pek \u00e7ok kad\u0131n ressam\u0131n yeti\u015fmesine eme\u011fi ge\u00e7ti. Resme olan tutkusu nedeniyle aristokrat ya\u015fam\u0131n\u0131 terk etti, bohem ve yoksul bir ya\u015fam s\u00fcrd\u00fc. Ressam Hale Asaf’\u0131n teyzesidir.<\/p>\n

Ya\u015fam\u0131 1886 y\u0131l\u0131nda \u0130stanbul’da, Kad\u0131k\u00f6y\u2019\u00fcn Bahariye semtindeki Dr. Rasimpa\u015fa Kona\u011f\u0131’nda d\u00fcnyaya geldi. Babas\u0131, Askeri T\u0131bbiye’de ders veren ve “T\u0131bbiye Naz\u0131r\u0131” veya “T\u0131bbiye Reisi” olarak da bilinen Dr. \u00c7erkes Ahmet Rasim Pa\u015fa’d\u0131r. Avrupa\u00ee bir e\u011fitim g\u00f6rd\u00fc. Edebiyat, musik\u00ee ve resim ile ilgilendi. Resme olan ilgisi di\u011ferlerine g\u00f6re a\u011f\u0131r bas\u0131yordu. Yapt\u0131\u011f\u0131 bir resmi Sultan II. Abd\u00fclhamit’e takdim edince saray ressam\u0131 Zonaro\u2019n\u0131n \u00f6\u011frencisi oldu; kendisinden Be\u015fikta\u015f\u2019taki at\u00f6lyesinde resim dersleri ald\u0131. B\u00f6ylece T\u00fcrkiye\u2019de \u00e7a\u011fda\u015f resim \u00e7al\u0131\u015fmalar\u0131n\u0131 ba\u015flatan ilk kad\u0131n ressam unvan\u0131n\u0131 ald\u0131.<\/p>\n

Avrupa’ya gidi\u015fi
\n<\/b>
\nOn yedi ya\u015f\u0131ndayken bir m\u00fczik dinletisinde tan\u0131\u015ft\u0131\u011f\u0131 \u0130talyan k\u00f6kenli bir m\u00fczik \u015fefinin pe\u015finden Roma\u2019ya ka\u00e7t\u0131. Sahte pasaportla gitti\u011fi \u0130talya\u2019da tan\u0131d\u0131klar\u0131n\u0131n yan\u0131nda bir s\u00fcre kald\u0131ktan sonra sanat d\u00fcnyas\u0131n\u0131n merkezi say\u0131lan Paris\u2019e ge\u00e7ti. 52 Montparnasse Bulvar\u0131’ndaki adreste kiralad\u0131\u011f\u0131 yeri, hem ev; hem de at\u00f6lye olarak kulland\u0131. Portre ve grav\u00fcr a\u011f\u0131rl\u0131kl\u0131 resimler yaparak ve evinin bir odas\u0131ndan ald\u0131\u011f\u0131 kira ile ge\u00e7imini sa\u011flad\u0131. Kirac\u0131lar\u0131ndan birisi, Bursal\u0131 Selami Pa\u015fa\u2019n\u0131n Sorbonne\u2019da Siyasi Bilimler \u00f6\u011frenimi yapmakta olan M\u00fc\u015ffik Selami Bey idi. M\u00fc\u015ffik Selami Bey (\u0130neg\u00f6ll\u00fc) ile evlenen Mihri Han\u0131m b\u00f6ylece sanat d\u00fcnyas\u0131nda bilinen “Mihri M\u00fc\u015ffik Han\u0131m” ad\u0131n\u0131 ald\u0131.<\/p>\n

\u0130talya ve Fransa\u2019da \u00e7e\u015fitli sanat okullarda ve at\u00f6lyelerde \u00f6\u011frenim g\u00f6ren Mihri M\u00fc\u015ffik Han\u0131m, d\u0131\u015favurumcu bir anlay\u0131\u015fla \u00f6zg\u00fcn portreler yapt\u0131. \u00c7a\u011fda\u015f resim ak\u0131mlar\u0131n\u0131 yak\u0131ndan takip etti. Portrelerinde k\u00fcbizmin ve ekspresyonizmin etkisi g\u00f6r\u00fcld\u00fc. En \u00f6nemli eseri say\u0131lan Naile Han\u0131m Portresini bu d\u00f6nemde, 1908 – 09 y\u0131llar\u0131n\u0131 i\u00e7eren uzunca bir s\u00fcre\u00e7te meydana getirdi. Eser, \u0130ttihat ve Terakki Cemiyeti kurucular\u0131ndan, eski Viyana Sefiri, \u0130stanbul \u015fehreminlerinden (belediye ba\u015fkan\u0131) Ali R\u0131za Bey\u2019in annesi, Naile Han\u0131m\u2019\u0131 betimlemektedir.<\/p>\n

\u0130stanbul’a d\u00f6n\u00fc\u015f
\n<\/b>
\nMihri Han\u0131m, Fransa ile bor\u00e7 anla\u015fmas\u0131 yapmak \u00fczere Paris’te bulunan d\u00f6nemin Osmanl\u0131 Devleti Maliye Naz\u0131r\u0131 Cavit Bey ile bir davette tan\u0131\u015ft\u0131. Cavit Bey\u2019in Maarif Naz\u0131r\u0131\u2019na bir telgraf g\u00f6ndererek Mihri Han\u0131m\u2019dan \u0130nas Sanayi Nefise adl\u0131 okulun kurulmas\u0131nda yararlan\u0131lmas\u0131n\u0131 \u00f6nerince, Mihri M\u00fc\u015ffik Han\u0131m 1913 y\u0131l\u0131nda \u0130stanbul Dar\u00fclmuallimat (K\u0131z \u00d6\u011fretmen Okulu) resim \u00f6\u011fretmenli\u011fine atand\u0131. Bu okul, M\u00fcsl\u00fcman halk\u0131n k\u0131zlar\u0131n\u0131n devam etti\u011fi en y\u00fcksek e\u011fitim kurulu\u015fu idi. Burada, \u00f6\u011frencilerini etkileyen ve sevilen bir \u00f6\u011fretmen oldu. 1914 y\u0131l\u0131nda k\u0131z \u00f6\u011frencilerin y\u00fcksek \u00f6\u011frenim g\u00f6rmelerine ve g\u00fczel sanatlar alan\u0131nda yarat\u0131c\u0131l\u0131klar\u0131n\u0131 de\u011ferlendirmelerin imkan vermek \u00fczere \u0130nas Sanayi-i Nefise\u2019nin a\u00e7\u0131lmas\u0131yla bu kurumun resim at\u00f6lyesine \u00f6\u011fretmen oldu ve matematik\u00e7i Salih Zeki Bey\u2019den sonra bu okulun m\u00fcd\u00fcrl\u00fc\u011f\u00fcne getirildi. \u0130nas Sanayi-i Nefise\u2019nin ilk kad\u0131n y\u00f6neticisi olan Mihri Han\u0131m\u2019\u0131n, k\u0131zlar\u0131 a\u00e7\u0131k havada resim yapmaya, modelden \u00e7al\u0131\u015fmaya ve kad\u0131n ressamlar\u0131 ilk kez toplu bir sergi a\u00e7maya te\u015fvik etti. Pek \u00e7ok kad\u0131n ressam\u0131n yeti\u015fmesinde katk\u0131s\u0131 oldu. Bu ressamlardan baz\u0131lar\u0131 Nazl\u0131 Ecevit, Aliye Berger, Fahrelnisa Zeid\u2019dir<\/p>\n

Edebiyat-\u0131 Cedideciler \u0130stanbul\u2019da bulundu\u011fu d\u00f6nemde, \u0130brahim \u00c7all\u0131, Hikmet Onat, Fikret Adil, Nam\u0131k \u0130smail gibi ressamlar\u0131n yan\u0131s\u0131ra Tevfik Fikret ile dost oldu. Edebiyat-\u0131 Cedide \u015fairlerinin yazd\u0131klar\u0131n\u0131 resimleyerek bir \u201cEdebiyat-\u0131 Cedide Resmi\u201d yaratt\u0131.<\/p>\n

Ru\u015fen E\u015fref \u00dcnayd\u0131n, Tevfik Fikret ile ilgili an\u0131lar\u0131nda, \u015fairin Mihri Han\u0131m ile ilgili yorumlar\u0131n\u0131 \u015f\u00f6yle dile getirir:<\/p>\n

Yukar\u0131da bir han\u0131m var. Resimler yap\u0131yor. Bir de \u00abR\u00fcbab\u00bb\u0131 o kadar g\u00fczel yorumluyor ki, yazd\u0131klar\u0131m bu kadar anlaml\u0131 m\u0131 imi\u015f!diye \u015fa\u015f\u0131r\u0131yorum.<\/p>\n

Mihri M\u00fc\u015ffik Han\u0131m, \u015fiirleri resimlemenin yan\u0131 s\u0131ra Edebiyat-\u0131 Cedideci \u015fairlerin portrelerini \u00e7izdi. 1915\u2019te Tevfik Fikret\u2019in \u00f6l\u00fcm\u00fc \u00fczerine y\u00fcz\u00fcn\u00fcn kal\u0131b\u0131n\u0131 alarak heykelini yapt\u0131. Bu, T\u00fcrkiye\u2019de yap\u0131lan ilk mask \u00e7al\u0131\u015fmas\u0131d\u0131r. Mask, A\u015fiyan M\u00fczesi’nde sergilenmektedir.<\/p>\n

Mihri M\u00fc\u015ffik, Ayakta Atat\u00fcrk Portresi Kurtulu\u015f Sava\u015f\u0131 y\u0131llar\u0131 1919 y\u0131l\u0131nda aniden \u0130talya\u2019ya gitti. Bu ani gidi\u015finin nedeninin, \u0130ttihat ve Terakki Cemiyeti mensuplar\u0131yla olan yak\u0131n ili\u015fkilerinin, onu i\u015fgal alt\u0131ndaki \u0130stanbul\u2019da zor duruma d\u00fc\u015f\u00fcrmesi oldu\u011fu san\u0131lmaktad\u0131r. Mihri Han\u0131m\u2019\u0131n, bu d\u00f6nemde tutuklanan H\u00fcseyin Cahit ve Cavit Beylerii \u0131ziyaret etmesi, bas\u0131nda aleyhine yaz\u0131lar \u00e7\u0131kmas\u0131na neden oldu. Bu karga\u015fa d\u00f6neminde, bir y\u0131l i\u00e7in gitti\u011fi \u0130talya\u2019dan geri d\u00f6nd\u00fc\u011f\u00fcnde, iki y\u0131l daha \u0130nas Sanayi-i Nefise\u2019de ders verdi. Bu arada k\u00f6t\u00fc al\u0131\u015fkanl\u0131klar ve sosyal \u00e7alkant\u0131lar nedeniyle Mihri M\u00fc\u015ffik Bey ile iyi y\u00fcr\u00fcmeyen evlili\u011fi bo\u015fanma ile sona erdi.<\/p>\n

Mihri Han\u0131m, 1922 y\u0131l\u0131nda Yunan ordusunun denize d\u00f6k\u00fclmesinin ard\u0131ndan Mustafa Kemal\u2019i mare\u015fal \u00fcniformas\u0131yla ayakta canland\u0131ran yakla\u015f\u0131k 3m y\u00fcksekli\u011finde bir portresini yapt\u0131 ve \u00c7ankaya K\u00f6\u015fk\u00fc\u2019ne g\u00f6t\u00fcrerek kendisine sundu. Bu, Cumhuriyetin ilan\u0131ndan sonra bir T\u00fcrk ressam taraf\u0131ndan yap\u0131lan ilk Atat\u00fcrk portesi’dir. Daha sonra Yugoslav Kral\u0131 Alexander hat\u0131ras\u0131na Yugoslavya’ya hediye edilen bu tablo II. D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda Belgrad Saray\u0131’n\u0131n tahrip olmas\u0131 sonucu kayboldu; 1990\u2019larda bulundu.<\/p>\n

Yeniden Avrupa’ya gidi\u015f ve ABD y\u0131llar\u0131
\n<\/b>
\n1922 y\u0131l\u0131n\u0131n sonuna do\u011fru yeniden \u0130talya\u2019ya gitti. Portreler yaparak uzun s\u00fcre ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. Konu olarak hep \u00fcnl\u00fc ki\u015fileri se\u00e7ti. \u0130talyan \u015fair Gabriele d’Annunzio ile birlikte oldu\u011fu d\u00f6nemde onun arac\u0131l\u0131\u011f\u0131yla birka\u00e7 kez Vatikan\u2019a kabul edildi ve Papa\u2019n\u0131n bir portresini yapt\u0131, ayr\u0131ca bir kilisenin fresklerinin onar\u0131m\u0131nda \u00e7al\u0131\u015ft\u0131. Vatikan\u2019da ilk kez bir Papa, ba\u015fka dinden bir kad\u0131n ressama poz vermi\u015ftir. Bu tablo yeni Papa\u2019n\u0131n se\u00e7imine kadar Vatikan M\u00fczesi\u2019nde kald\u0131.<\/p>\n

\u0130talya\u2019dan sonra Paris\u2019e ge\u00e7en Mihri Han\u0131m, bu d\u00f6nemde “\u00c7ingene” isimli tablosunun Louvre M\u00fczesi\u2019ne kab\u00fcl\u00fc ile mutlu oldu (eserin bir kopyas\u0131 \u0130stanbul Resim ve Heykel M\u00fczesi’ndedir) ancak k\u0131zkarde\u015fi Enise Salih Han\u0131m\u2019\u0131 ve ye\u011feni Hale Asaf\u2019\u0131 kaybettikten sonra Paris\u2019te ya\u015famak istemedi. \u00dclkesinde ise kendisine kar\u015f\u0131 bask\u0131c\u0131 bir tutum olmas\u0131ndan \u00f6t\u00fcr\u00fc ABD\u2019de ya\u015famay\u0131 tercih etti. Bir s\u00fcre New York, Washington, Chicago\u2019da \u00fcniversitelerde konuk resim profes\u00f6rl\u00fc\u011f\u00fc yapt\u0131 ve zengin Amerikan ailelerine \u00f6zel dersler vererek ge\u00e7imini sa\u011flad\u0131. 26 Aral\u0131k 1928 tarihli Cumhuriyet Gazetesi\u2019nin haberine g\u00f6re New York\u2019un Geroge de Maziroff Galerisi\u2019nde bir de ki\u015fisel sergi d\u00fczenledi. Ya\u015fl\u0131l\u0131\u011f\u0131 yoksulluk i\u00e7inde ge\u00e7ti. 1954\u2019te New York\u2019ta ya\u015fam\u0131n\u0131 yitirdi ve Kimsesizler Mezarl\u0131\u011f\u0131\u2019na g\u00f6m\u00fcld\u00fc.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

(d.1886, İstanbul- ö. 1954, New York) Türkiye’de çağdaş resim çalışmalarını ilk başlatan kadın ressamdır. Özellikle portreleriyle tanındı. Tanınmış kişilerin portrelerini yaptı; portresini yaptığı kişiler arasında Mustafa Kemal Atatürk ve Papa XV. Benedict de vardır. Kız öğrencilerin devam ettiği bir Güzel Sanatlar Akademisi olan İnas Sanayi Nefise’nin ilk kadın yöneticisi oldu; pek çok kadın ressamın yetişmesine […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[48],"tags":[],"class_list":["post-6264","post","type-post","status-publish","format-standard","hentry","category-degerlerimiz","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6264","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=6264"}],"version-history":[{"count":1,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6264\/revisions"}],"predecessor-version":[{"id":6358,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6264\/revisions\/6358"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=6264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=6264"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=6264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}