• Türkçe
  • English
Neşet Günal
  • HOME
  • BIOGRAPHY
  • WORKS
    • + MAIN OIL PAINTINGS
    • + PRELIMINARY STUDIES, DRAWINGS
    • + OTHER
  • BOOK & CATALOGUE
  • PHOTO GALLERY
  • CONTACT
  • Search
  • Menu Menu

By Sezer Tansuğ:

In Neşet Günal’s art, the figurative splendor, which undertakes bringing monumental qualities to composition of painting, is the symbol of an imposing structuring, the origins of which are hidden in the Central Anatolia’s moors.

Neşet Günal has tested and assimilated the delicate rules of contemporary deformation in a distinctive style that succeeded in bringing them together by reducing them to the common value denominators of the main currents and trends of this century. In addition to their strength in structural formation and expressiveness, all criteria that push and expand the boundaries of reality have transformed the arid misfortunes of the surface texture into a proud perception of life. Neşet Günal’s painting, as a pride or a hardened resignation that resists pity and intervention, is not an ordinary sign of poverty, but a definitive reality of a human being identified with his natural environment.

In Neşet Günal’s painting, the composition that fuses the textures of the body and the clothing together with the surface texture is determined by the power of interpretation in a maturing mindset where the childhood memories developed.

Neşet Günal’s painting has not been detached from its region, from the color and atmosphere of this region from the very first day. This persistent commitment is a sign of the nobility of rooting conscience.

Neşet Günal’s composition elements each of which turning into a monument design in this arid region, head towards a common horizon where theme differences disappear. The figures that reflect in the mystery of their stare the spiritual delicacy of rough and cumbersome formations, exhibit in the rituals of their belief in nature that unite earth and sky the hand and foot claws of oppressed and humble invincibility. The most typical signals symbolizing the figurative power of Neşet Günal’s painting are always determined by the plain and naked truths of the hand and foot motifs. These hand and foot motifs with their tense joints have also assumed a lot of meanings in Neşet Günal’s painting. As much as they symbolize the determination to produce, they also evoke the fury of despair.

Neşet Günal’s painting has continued to resist easily the critical attacks of opposing tendencies, with its unique qualities that gradually assumed a school identity, since the 1950s, when the great figurative activity around Istanbul has been on the agenda. In addition to the many stylistic proofs that determine its insurmountableness, it is at the summit of a dignified and calm sensibility, with its content loads that can go beyond the reality of an ordinary observation.

Sezer Tansuğ

Exhibition brochure promotional text

Neşet Günal “Problem-Question” Painting Exhibition, May 1992, Garanti Art Gallery, Istanbul

TESTIMONIALS

One of the things I learned from Neşet Günal, perhaps the first thing, is to be “principled”.

Mevlüt Akyıldız


Neşet Günal Symposium (Symposium, Mimar Sinan Fine Arts University – Istanbul, 2016) p 100

Painter of realistic sensitivity

Reflections from the rural peoples lives are the traces of Neşet Günal’s painting world that cannot be erased from memory.

At home, at the table, while working in the fields, while thinking, resting; We find the extent of the adventure of the Anatolian people with nature, whose situation in every moment of life and their relationship with the earth is reflected plainly in his paintings. Günal virtually weaves this expressive side of his painting.

Feridun Andaç


https://www.cumhuriyetarsivi.com/katalog/192/sayfa/2002/12/15/14.xhtml

I always remember Neşet Günal walking in the corridors of the Department of Painting, wearing a turtleneck sweater and gray herringbone jacket, without a tie.

Aydın Ayan


Neşet Günal Symposium (Symposium, Mimar Sinan Fine Arts University – Istanbul, 2016) p 94

Drawing is homeland to Günal, the terra firma where his feet are on the ground. It is therefore inevitable that drawing will share in the principle of frugality which we have been discussing.
Günal deals wıth line like an accomplished mason. It is almost as though the process of elimination had become an act of careful hewing.

Mehmet Ergüven


Neşet Günal (Science Art Gallery Publications, 1996) p 33

At first glance, his advocating a social and functional art may give the impression that Neşet Günal is close to the socialist-realist artistic perspective. However, his understanding of art, his artistic personality and his artistic attitude were developed and shaped by the constant questioning of life and his experiences, not based on an ideological premise or a contemporary art movement.

Selvin Gafuroğlu


http://www.galeriselvin.com/sanatcilar.php?p=Neset_Gunal

I have always felt respect, love and gratitude to the great master of Turkish painting. For enriching my taste, my knowledge, my consciousness (???? İntellect????).

Doğan Hızlan


https://www.hurriyet.com.tr/dogan-hizlan-neset-gunala-onur-odulu-39188848

Neşet Günal is the painter of large-scale and multi-figure compositions. (It would perhaps be more accurate to say “he is the architect” instead of painter). Just as a kilo of blue, in Gauguin’s words, is more blue than one gram of the same blue, the large-scale figure is more of a figure than the reduced size figure. In order to comprehend how effective the elements that constitute the inner dynamics of the figures in Günal’s painting are in large or life-like dimensions, it is a necessity to see the original artworks, not their prints.

Kemal İskender


Neşet Günal (Garanti Art Gallery – Istanbul, 1995) p 17

[About the “Scarecrow” series *]

By putting different clothes and hats on the scarecrow in each drawing or painting, by arranging people around it in different ways, Günal has brought diversity and movement to this series within itself. This diversity is not random; It is a breakdown of the details Anatolian people encounter between death and life. Günal, in this respect, while reaching a symbolic integrity, does not fail to speak of a sharp truth.

Beral Madra


Neşet Günal (Urart Art Galleries – Istanbul, Ankara, 1988) p 6

* note by Zeynep Günal

As Neşet Günal’s students, we will remember him as a great painter and teacher who is traditional, but not conservative, who pushes to reconcile traditional art with the modern art.

Nedret Sekban


Neşet Günal Symposium (Symposium, Mimar Sinan Fine Arts University – Istanbul, 2016) p 83

Neşet Günal’s sensitivity committed to the figure with frank honesty has only taken root in his own land. When we look at his paintings, which are contradictory to fashion and speculative interpretations, we see without a doubt that this strength has been acquired from and justified by a local tradition.

Sezer Tansuğ


Neşet Günal (Yapı Kredi Bank Galleries – Adana, 1993) p 3

For Neşet Günal, drawing is the main road that brings him to the painting that is his destination. Far more than being simply a preparatory stage before painting, drawing is one of the constituent elements of the painting. One could even go a bit further and say it is in fact the painting itself, challenging the arbitrary boundary between the one and the other.

Murat Ural


Neşet Günal Drawings 1941 – 2001 (Milli Reasürans Art Gallery – Istanbul; Gallery Selvin – Ankara, 2001) p 3

The humanıty he glorified in the style of Fresco, whilst never falling into populism, without letting the respect for the problems of form get ahead of reality, never disturbing the balance of mind-emotion; the harshness with which he established his observational language distancing himself like an anthropologist, like a sociologist; the human essence, which he embraced as an insider who felt the helplessness of daily life; these modernize his art.

Feyyaz Yaman


Neşet Günal Symposium (Symposium, Mimar Sinan Fine Arts University – Istanbul, 2016) p 103

[About the “Wall” series *]
Meanwhile the series on walls brings up another problem connected with Günal’s art: the portrait. Actually, with their close (concrete) relationship to subjective life-content, portraits are somewhat contrary to Günal’s way, as clearly seen in the fact that apart from a memorial portrait of his father, and a drawing of his wife and daughters, he has never done a portrait in his life [as an artist *]. In his terms, a portrait of a specific person involves subjectivity which is of debatable interest to the viewer, and for this reason Günal has never peered into the mirror with thoughts of painting his own features.


Neşet Günal (Science Art Gallery Publications, 1996) p 133

* note by Zeynep Günal

[About the 2016 Neşet Günal Symposium *]

We should / you should look at his PAINTINGS again.

We will all see how the Anatolian people are brought onto the canvas. There is no need to repeat the importance of the symposiums held on behalf of the masters. I believe such important events should continue to be organised


https://www.hurriyet.com.tr/yazarlar/dogan-hizlan/msgsude-neset-gunal-sempozyumu-40284511

* note by Zeynep Günal
PreviousNext
© Copyright - Neşet Günal • Designed by Ufuk Lüker
Aardbeio
Scroll to top