Avrupa Resminde Kulak kepçesi Stili

The auricular Style, which refers to the form of the ear and is a description of its strange

curved, swirling, fleshy features reminiscent of organic, fluid forms, became known in 17th centu

ry Holland as “Snakerijen”, or playful grotesques and whimsy. Denoting a stylistic stage between

Mannerism and high baroque, the style was first developed during the reign of Emperor Rudolf

II (1552-1612) in the engravings of Hendrick Goltzius (1558-1617) and by the Vianen brothers

at the Habsburg court in Prague. These melting forms were later applied by Johannes Lutma.

Especially the cartouches in the form of auricular designed by Lutma later allowed the style to

be used in architecture. The works of Lutma, who interpreted the auricle style in his own way,

inspired artists in different disciplines such as his friend Rembrandt (the golden age painter of the

Netherlands) and Herman Doomer (carpenter), and eventually became the fashionable design of

expensive interiors and manifested itself in England, France, Italy, Germany and 200 years later

in Ottoman Art. In particular, the application of Ottoman Art in the repertoire of 19th century civil

architectural ornamentation has been an important factor in the study of the style.

In this study, a brief history of the style is given and the auricular ornament in the paint

ings of 17th century painters Gerbrand van den Eeckhout, Jacob Adriaensz Backer, David Bailly,

Gabriel Metsu, Michiel van Musscher, Rembrandt, Emanuel de Witte, Thomas de Keyser, Willem

Woutersz, Johannes Vermeer, Barend Graat, Correggio, Pieter de Hooch and Abraham Hendrick

van Beijeren constitute the main subject. While evaluating the style reflected in the paintings, the

date of their production was taken into consideration and the development of the style reflected in

the work was followed through the art of painting by detailing the ways of use.