@article{2018,title={AN AVANGART ARTIST IN CONTEMPORARY TURKISH PAINTING ART: FAHRELNİSSA ZEYD},abstractNode={This study of Fahrelnissa Zeid’s understanding of art (Birth 1903, Istanbul -Death.1991, Amman / Jordan) was carried out in a literature review model. In Contemporary Turkish Painting Art, with her unique plastic and painting language, she is a variable and versatile female artist who cannot be reduced to a single style. The study is limited to Fahrelnissa Zeid's understanding of art and works of art, which have taken place both in the world and in contemporary Turkish painting art as a unique identity among Turkish women artists. At the same time, it is also aimed in the research to emphasize the place and importance of Fahrelnissa Zeid in the formation process of Contemporary Turkish Painting. Also dealing with Fahrelnissa Zeid and the period of her art life, this research determines special resources to create the artist's authenticity in terms of art critics and historians upon the fact that a woman from the mystical world of the Middle East could come up with abstract paintings. It is possible to see the aesthetics of Islamic calligraphy and miniature arts and the mystical characters of mysticism in Zeid’s works, a mystery for a westerner and in the exclusive family atmosphere of the Ottoman Empire. She blended her works with the aesthetics of Byzantine and Western art, by which she had been influenced during her stay in Paris. Calligraphic, rhythmic, harmonious geometric lines and strong colours in her works reveal her dominant character. Having studied both in Paris and in Istanbul, Fahrelnissa Zeid was an important artist of Turkish avant-garde groups in the early 1940s and of École de Paris in the 1950s. With giant-dimensional abstract compositions and courageous dynamic designs, she transforms the traces of the colours and shapes of the mystical cultural texture of the east into the works of original art by combining them with the universal bases of western art. The universal language she captured gives her a place in the 1950's École de Paris in the history of world art.},author={Pınar YAZKAÇ},year={2018},journal={The Journal of Academic Social Science}}