The artwork entitled “Uzun Yuruyus (Long March)” was created by the artist Abidin Dino in 1956. It reflects qualities of Abstract Expressionism and Surrealism, two significant art movements of the mid-20th century, and is categorized within the figurative genre. The painting stands as an embodiment of Dino’s engagement with abstraction and the human form, exploring themes likely related to the social or political climate of the time through its symbolic representation.
The artwork presents a vertically oriented canvas with a central structure that dominates the composition, suggesting a monumental form or perhaps a simplified, abstract representation of a landscape or architecture. This central motif is flanked by horizontal bands that might evoke horizons, while the space is inhabited by numerous small, dark figures that seem to be engaged in a form of progression or migration. The figures are depicted with a sense of urgency or movement, and their repeated forms create a rhythmic pattern across the canvas.
The color palette is muted with shades of brown, black, and white, evocative of earth tones and shadows, which gives the work a somber, contemplative quality. The use of these colors, along with the blurred and gestural application of paint, contributes to the overall sense of abstraction. Despite the figurative elements, there is a clear departure from realism; the figures are stylized and simplified, their identities obscured, which aligns with principles of Surrealism where elements of reality are presented in a dreamlike or fantastic context. The brushwork is expressive and loose, characteristic of Abstract Expressionist techniques, where the physical act of painting is as important as the final image.
In summary, “Uzun Yuruyus (Long March)” is a piece that straddles abstract expressionist and surrealist sensibilities, utilizing a somber palette and dynamic composition to create a work that is open to interpretation and rich in metaphorical potential.
