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    BALTARS' PORCELAIN WORKSHOP
    (Anadolu Univ, 2014) Zumrut, Yesim
    Latvia, where Independent republic was claimed in 1918, can still be characterized by the destructive influence of the First World War on social life and art. The artists and the people in Riga invested a great deal of effort in enlivening and founding the art institutions which also existed before the war. A group of artists who worked to generate particularly new art movements and ideas from 1920s and 1930s started to produce porcelains signed as Baltars, which is well established in the cultural heritage of Latvia. These works on which the technique of over glaze decorum have reflected the different dimension of the national identity in Latvia art. This article investigates the factors that provide a basis for the foundation of Baltars Porcelain Workshops, which inspire porcelain factories such as M.S Kuznetsov Company and J.C. Jensen, which functioned between 1925 and 1928. In addition porcelain and artists are also highlighted as those who promoted the art.
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    DIFFERENT APPROACHES TOWARDS NATURE AND ART
    (Anadolu Univ, 2013) Aydin, Irfan; Zumrut, Yesim
    The history of natural art can be traced back to the 25.000 year old cave pictures found in France and Spain, to the megalithic stone structures such as Stonehenge, which was built in several stages around 2000 B.C., and countless examples such as these. Inspiration from nature lies behind every culture, and is the source of many artistic practices. However, the purposes of producing these examples which we are confronted with in the historic process are events connected to customs of belief, such as magic, protection, hunting and the imitation of nature. As for other practices, the objectives of why they were done still remain a mystery. Following the 1960's, together with the transformation in the social structure and in line with the artistic movements which emerged with the aim of rejecting to produce exhibition objects for galleries and institutions, the relationship between art and nature has also started to acquire a new dimension. Performances carried out in open spaces were defined according to their different purposeful breaking points under the headings of Land Art, Earth Art, Environmental Art', Eco Art', and Ecological Art. These headings consist of various applications, such as making use of open spaces in nature and natural materials, raising environmental awareness, restoration, recycling, renewal, and projects unique to the locality. As part of this study, we aim to emphasize the difference between these practices which cannot be demarcated along explicit lines and which are produced with an environmental sensitivity with the purpose to create awareness and those scientific projects based on interdisciplinary cooperation which propose radical solution suggestions to ecological problems. In particular, we will deal with Environmental Art and Ecological Art practices in terms of purpose and material integrity, on the basis of exemplary work of art from particular two artists.