The purpose of this study is to conduct a comprehensive analysis by identifying the formal similarities and functional differences between “Tronie” painting and portrait painting that emerged in Dutch Golden Age painting of the XVII century. The aspects of Tronie painting that deviate from the standard understanding of portraiture are not easy to determine, as it has broad significance in its own genre. It has been misinterpreted by scholars due to the stylistic similarities it exhibits in research, and the form-content structure has been analyzed and clarified with recent studies. Our study has shown that Tronie painting, although . . .formally similar to portraiture and other genre paintings, is a distinct genre in which artists clearly show their technical mastery; it is grouped within itself and reflected in other genre paintings of the period. The findings obtained through the analyzes we have made have confirmed the hypothesis that Tronie painting is an independent genre, showing its adherence to the painting tradition. It occupies an important place in the process of development of the history of painting, as it enriches portrait painting through the experimental (empirical) basis it provides to painters
Gold is a commodity that has been used to protect the wealth of not only people but also organizations and states from past to present. For this reason, countries prefer to keep some of their reserves as gold through their central banks.
At the financial macroeconomic level, the primary goal of countries is to sustain a healthy economic growth. However, when the economies of developed countries are examined, especially when the economic growth rate of the G8 countries, which are called the strongest countries class, is examined, it is seen that the public debt ratio is very high, which increases the risk levels of the countries. . . . Therefore, it is expected that the gold reserve demands of these countries will be in a causal relationship with international gold prices. In this study, the causality relationship between the public debt stock of countries, international gold prices and gold reserve of countries is investigated based on this question.
The country sample is based on the quarter between 2008 and 2020 of the G8 country group. The analysis method has been utilized by econometric methods and the relationship between variables has been examined with panel granger causality analysis.
As a result, a unidirectional causality relationship has been found between the debt stock of countries and international gold prices, and between gold reservoirs and debt stock
This study comprises the development of art collectorship in Turkey through the concept of collections and in comparison with the Western world, the transformation of these art collections into private museums in the 2000s, and the new inclinations regarding the location choices of private museums after 2010. Ever since the prehistoric period, humans have researched, discovered, and collected, evolving over the centuries to do it consciously and consistently, becoming collectors, and later, with rational categorization and institutionalization, secularizing their collections, thus establishing museums. Becoming wealthier through com . . .merce, while collectorship developed in Europe starting with the Renaissance in the 15th century, leading to collections becoming public in the 17th century and the start of modern museumification in the century that followed, it was the bourgeoisie that birthed European collectorship. The foundations of art collectorship lay with the autonomy and the commodification of art, which created its own market. Thus, art collectorship and the art market always progress simultaneously. In the Republic of Turkey, liberal economic policies starting in the 1980s allowed private capital to take over from the state, launching a period where artworks and collectorship increased. Attempting to integrate itself with the world as a result of the globalization policies of the 1990s, the 2000s for the Turkish art market, dominated by private capital, coincide with a highly dynamic period when the recently growing population of art collectors founded private museums in İstanbul by which they could receive exposure and recognition This period saw the emergence of culture and arts events and activities in the periphery. After 2010 this was followed by collectors who wished to bring their collections to the lands where they were born and dreamt about showing revealing the existence of a culture outside the center, who then established museums towards that goal
Yeditepe Üniversitesi, akademisyen ve lisansüstü öğrencilerinin iç ve dış paydaşlarla ürettikleri bilimsel çalışmalarını, Akademik Açık Arşivi’nde elektronik olarak yayınlayarak ülkemiz ve insanlık yararına sunar.
Yeditepe Üniversitesi Akademik Açık Arşivi’nde bulunan tüm kaynaklar, telif haklarına uygun şekilde ve açık erişim olarak yayınlanır.
Preprint (ön baskı), yayınlanmış makaleler ve diğer bilimsel belgeler Yeditepe Üniversitesi birimleri, araştırmacı adları, yayın tarihi ve anahtar kelimelere göre kategorize edilerek sunulmuştur.
Yeditepe University provides the scientific studies conducted by academicians and graduate students with internal and external partners for the benefit of our country and humanity by publishing them electronically in the Academic Open Archive. All resources in the Yeditepe University Academic Open Archive are published in accordance with copyright and open access. Preprint published articles and other scientific documents are categorised on the basis of Yeditepe University units, researcher names, publication date and keywords.
6698 sayılı Kişisel Verilerin Korunması Kanunu kapsamında yükümlülüklerimiz ve çerez politikamız hakkında bilgi sahibi olmak için alttaki bağlantıyı kullanabilirsiniz.