Dergi Bursa Subat 2015 - page 93

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bacakları bir çocuğunki gibi
çelimsiz ve sadece 70 cm
olarak kalmıştı. Doktorlar
bu hastalığın bilinmeyen
bir genetik bozukluktan
kaynaklanan ve bazen kafanın
küçük, bazen bacakların
kısa kalmasıyla sonuçlanan
“pignodizostoz” olduğunu ileri
sürmüşlerdi. Hatta günümüzde
hastalığa sanatçının ismiyle
“Toulouse-Lautrec Sendromu”
da deniliyor. Bu zorlu dönemde
amcasının da teşvikiyle
resme daha fazla yöneldi.
Bedensel özrü nedeniyle
içinde biriken enerji onu daha
da üretken kıldı. 1881 yılına
gelindiğinde farklı tekniklerdeki
çalışmalarının sayısı 2400’e
ulaştı.
Lautrec için sanat hayatın
içinde var olmak demekti.
1.52’lik boyuyla yaşıtlarının
eğlendiği etkinliklerin çoğunu
yapamıyordu. Diğer çocukları
gibi babasıyla avlanmaya, ata
binmeye çıkamayan Lautrec de
çizime ve resme odaklanmıştı.
Lautrec’in sanatsız
yaşayamayacağı aşikârdı ve
içindeki gizli yeteneği dışa
vurmak, durmadan üretmek
ona sakatlığını unutturan
yegâne yol olmuştu. Ergenlik
çağının sonlarına doğru
Lautrec Paris’in tepelerindeki
Montmartre’deki stüdyosunda
çalışan ünlü sanatçı Fernand
Cormon’ın öğrencisi oldu.
Daha sonraki süreç, Lautrec
için kelimenin her anlamıyla
bohem bir yaşam oldu.
İçmek ve çizmek sanatçının
iki büyük tutkusu oldu.
Alkole olan ilgisinin altında,
fiziki görüntüsünden dolayı
Montmartre’deki cazip ve renkli
ortamında sürekli reddedilmesi
yatıyordu. Kadınlar tarafından
beğenilmemesinin ruhunda
açtığı yara, kendi dilinden
şöyle yansıdı cümlelere:
“Aşk, arzu edilme arzusunun
sizi ölümcül bir şekilde
sarmalamasıdır.” Alkol ile
ilişkisinden ötürü günümüzde
konyak ve apsentin bol buzla
karışımıyla yapılan “Deprem”
isimli kokteyl (Earthquake,
Tremblement de Terre)
sanatçıya atfedilmiştir.
an unknown genetic disorder
resulting in a small head or
short legs. Today, the disease
also goes by the name of the
artist as “Toulouse-Lautrec
Syndrome”. He devoted himself
more and more to painting during
this difficult time thanks to the
support of his uncle. The energy
pent up due to his physical
handicap forced him to become
more productive. The number
of his works using different
techniques reached 2400 in 1881.
Art for Lautrec meant being
alive in the midst of life. He
could not join his peers in many
of the entertaining activities
with his height of 1.52. Lautrec
could not go hunting with his
father or ride horses and thus
he focused all his attention to
drawing and painting. It was
clear that Lautrec would not be
able to live without art and it was
expressing his hidden talent,
continuing to produce without
stopping that made him forget his
disability. Towards the end of his
adolescence, Lautrec became
the student of Fernand Cormon,
the famous artist who worked
at his workshop in Montmartre
located high above Paris. What
followed for Lautrec was a
bohemian way of life in the exact
sense of the word. Drinking and
painting were two passions of
his. His constant rejection in the
lively and colorful environment
of Montmartre because of his
physical appearance was the
underlying cause of his interest
in alcohol. The wounds in his
spirit due to rejections of women
were expressed by him as such:
“Love is when the desire to be
desired takes you so badly that
you feel you could die of it.” The
cocktail known as “Earthquake”
made by cognac, absinthe and
ice has been devoted to the artist
thanks to his interest in alcohol.
(Earthquake, Tremblement de
Terre)
Meeting with Van Gogh was a
turning point for him. He joined
the post-impressionists which
was a reaction to impressionism.
This movement overthrew
all traditional rules. The
representatives of this movement
added their own personal worlds
to their work instead of reflecting
only what they saw. Later on
Toulouse Lautrec also became
known as one of the important
representatives of this movement
together with Van Gogh. He
opened his first group exhibition
in 1884.
He was a frequenter of all night
clubs and cabarets of Paris
including Moulin Rouge. He
drank heavily and could not
give up his passion for alcohol
and entertainment despite the
wearing out effects of night life.
In his paintings he depicted all
these venues, the slums of the
city, dancers and whores. He
was even criticized frequently
by conservatives for painting
dancers and whores. In 1891
he produced the first stone
prints and the posters that were
to bring him fame. The most
important of these was the poster
he designed for Moulin Rouge.
Posters were seen as a simple
tool for advertisement that could
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