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Romantizmden Barbizon Okuluna Manzara Resmi çalışmada, resim sanatı içerisinde önemli bir çıkış noktası olan manzara çalışmaları ele alarak, sanatçıların yaşam süreçleri, eserlerinin analizleri üzerinden manzara anlayışı irdelenmeye çalışılmıştır. Manzaranın sanat içerisindeki yerine değinirken etkileşimde bulunduğu alanlara, tarihsel sürecin sonuçları üzerinde durulmuştur. Romantizm ile başlayan analiz, felsefesine ayrıldığı dönemlerin sanattaki yerine dair bilgiler ile pekiştirilmiş. Romantizm döneminde yaşanan yıkım, doğaya karşı duyulan arzu, özlem manzaranın sanat tarihi içerisinde önemli bir yer almasını sağlamış. Özellikle Barbizon sanatçılarının eserleri üzerinden analiz yapılmıştır. Aralarındaki farklılıklardan bahsedilerek, doğanında değişim bir parçası olduğuna, güneş ışığının altında geliştirdikleri çalışma biçimi ile ise tüm bu değişkenliğin eserler üzerinde durularak anlatılmaya çalışılmıştır. Kişisel eserlerin analizinde, günümüz manzara eserlerinde olduğu gibi doğa, hayvan figürlerinin günümüz problemlerini ifade edilmesindeki önemli bir araç olarak kullanılmaktadır. Burada canlıların doğa içerisindeki yaşadıkları problemlere, değişime karşı duruşları eserler üzerinden analiz yapılarak ele alınmıştır. Sonuç kısmında, çalışmaya yönelik veri saptamalar bulunmaktadır. Çalışmada yararlanılan kaynaklar bir bütün halinde kaynakçanın kısımlarında gösterilmiştir. In Landscape Painting from Romanticism to the Barbizon School, it has been tried to examine the understading of landscape through the life processes of the artists and the analysis of their works, by considering the landscape studies, which are an important starting point in the art of painting. While adrdressing the place of landscape in art, the areas it interacts with and the results of the historical process are emphasized. The analysis, which started with Romanticism, was reinforced with information about the place of the periods in which he was devoted to his philosophy in art. The destruction experianced during the romantic period, the desire for nature, and the longing made the landscape an important place in the history of art. In particular, the analysis was made an the works of Barbizon artists. By mentioning the differences between them, it has been tried to explain that it is a part of change in nature, and all this variability with the way they work under the sunlight, by emphasizing on the works. In the analysis of personal works, nature and animal figures are used as an important tool in expressing today’s problems, as in today’s landscape works. Here, the problems of living things in nature and their stance against change are discussed by analyzing the works. In the conclusion part, there are data determinations for the study. The sources used in the formation process of the study are shown in the parts of the bibliography as a whole.

The aim of this article is to examine the works（ oil paintings） of the Barbizon School,which represents one of the 19th century’s French realisms in terms of art. It is also aimed to explore if these oil paintings will be reliable sources for the study of historical anthropology, where paintings had rarely been paid attention to. In 2014 I had a chance,thanks to Millet’s 200th birth anniversary, of watching much more paintings of the Barbizon School than before. This experience deserved, for I could gain several clues to understanding how painters had produced their works.Barbizon is a name of a hamlet, 60km south-east from Paris, adjoining the forest,called Fontainebleau, which had been attracting a lot of young ambitious artists since the early days of the 19th century. They did not confine their sketch activities to those withpencil or chalk. They did oil sketches as well. They depicted nature as it is, say, depicted what they saw without any modification to meet the contemporary artistic standard.The classical, traditional landscape paintings with mythological, biblical or heroic figures in them, ‘ neoclassicism ‘ academically called, did not interest them at all, although it was, at that time, only through this genre that a painter could attain honor and fame.Influenced by romanticism, quite opposite to neoclassicism, and thanks to a political change （the revolution 1830）, those who worked in Fontainebleau became well-known.The core members of the Barbizon School came from them. I have observed their paintings and considered if they had really depicted what they saw. Having discovered the similar patterns in landscape, favorite colors, repeated modifications, and a network of friendship, I came to a conclusion that it was not necessarily the case. I also understood that the publication of a textbook by Valencienne,which was widely read among young artists, played an important role for the Barbizon members to decide how to paint. The realistic paintings of the Barbizon School, still,would be useful materials to help historical anthropologists interpret the life and nature of the 19th century if they considered those findings.

During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.

Barbizon school, an informal school of French landscape painting that flourished c.18301870. Its name derives from the village of Barbizon, a favorite residence of the painters associated with the school. […]

"This publication has been issued in conjunction with the exhibition ... held at The Metropolitan Museum of Art, New York, from October 8, 1996 to January 12, 1997"--Colophon, Exhibition title: Eugène Cuvelier, photographer in the circle of Corot