Author(s): Yurdagül KILIà GÃNDÃZ
It has been aimed within this study to analyze the indicators and denotation-connotation in the work titled “K?rm?z? Kahve” (Red Café) by Bedri Rahmi Eyübo?lu who is one of the most significant representatives of modern Turkish art. The innovation movements which arose at a great pace in the first years of the Republic on the path to modernism were supported by many painters. Eventually certain art groups emerged in the modernism quest of the Turkish painting art. In the year 1929 the first artist group assembled under the name of Müstakil Ressamlar ve Heykelt?ra?lar Birli?i (Association of Independent Painters and Sculptors). After a few years, in 1933 Zeki Faik ?zer, Nurullah Berk, Cemal Tollu, Elif Naci, Zühtü Mürido?lu and Abidin Dino established the group “D”. Subsequently, Bedri Rahmi Eyüpo?lu, having joined this group, added a different perspective to the perception of constructivist style by combining the local patterns and Anatolian motifs with formalist structural qualities and by reflecting these to their works with cubist inclinations. Deforming the holistic mold in his figures, Eyüpo?lu builds a new structure. Meanwhile, by means of deconstructing the figures in his artworks, he again brings a new motion to the figures with line, color and stained brush strokes. With the aim of interpreting the indicators of his work “K?rm?z? Kahve” (Red Café), semiotic method has been utilized. The work has been analyzed with the semiotic theory of Roland Barthes and evaluated within the context of connotation and denotation. According to Barthes, all things have an appearance that can be read within an indicator arrangement and almost everything ranging from elements in our daily life to the most favorite artworks can be analyzed as an indicator
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