Akademik Veri Yönetim Sistemi
ANADOLU UNIVERSITESI SANAT & TASARIM DERGISI-ANADOLU UNIVERSITY JOURNAL OF ART & DESIGN, sa.1, ss.686-707, 2024 (ESCI)
The desire to explore the emerging attraction of the subconscious has been the main interest of the artists working within the Surrealism movement. Stating that real art can only emerge with an unconscious situation, Surrealist artists sought various ways to release the subconscious. Taking the photograph as the main subject of the painting was realized after the pop artists. Photorealist and Hiperrrealist artists, who rejected their own emotional states by being faithful to the image coming out of the objective lens, only carried the photographic image to their work. Based on these two approaches, Eddy Stevens brought a new breath to the Surrealist approach by handling extraordinary situations in a manner close to photographic realism. Defining this new technique developed by the artist and discussing the innovative approach he brought to the traditional Surrealism movement constitute the main problem of this research. His brush strokes, which are close to photographic reality, and his roots in Belgian Surrealism, were effective in choosing the artist as a sample in this research. In the research carried out within the framework of the descriptive analysis method, a literature review was conducted regarding Eddy Stevens' understanding of art and his works. Focus is on three of his early works, which show Surrealist and Hyperrealist influences. At the same time, the artists' works were compared with the works of some painters in the Surrealism movement. The artist applied a photorealistic technique to the dream and supernatural subjects he addressed in his works. In this context, he brought a new breath to the Surrealist and Hyperrealist styles.