Abstract
Analysis of Mengü Ertel's Opera and Ballet Posters According to Iconographic and Iconological Criticism Method
Understanding the nature of art is commonly accepted to involve the analysis of artworks as one of the most effective approaches. These analyzes are used to examine the aesthetic characteristics, themes, techniques and messages of a work of art. This process is important to understand the artist's intention and offer a deeper understanding to the viewer. An advertising poster, as a graphic design product, is both an art piece carrying aesthetic value in a plastic sense and a graphic design item containing effective messages in terms of visual communication. Opera posters, a type of cultural posters, serve as visual reflections of stage design and opera themes, conveying the atmosphere, narrative, and characters of the respective performance through visual elements. In this study, Mengü Ertel's opera and ballet poster designs from 1960 to 1974 were analyzed using Erwin Panofsky's Iconographic and Iconological method. With this analysis method, the symbols, images and colors used in the opera posters were analyzed and the inner meaning of the posters was examined in more detail. It has been observed that the posters, where art and aesthetic concerns are prioritized, reflect the fascinating atmosphere and visual magnificence of opera scenes, and traditional motifs and symbols are harmoniously combined with modern elements, giving the designs an aesthetic character. The artistic identity that Mengü Ertel added to the opera posters contributed to the spread of opera art and the expansion of the audience base.
Keywords
Opera posters, cultural posters, Mengü Ertel, iconographic and iconological analysis, Erwin Panofsky
