.: 19 March 1938, Paint & Colour

.: AN EXPLANATION, 1967 Academy of Fine Arts ,Exhibition Catalogue

.: MY CONCEPT OF ART,12 - 29 June 1967, Academy of Fine Arts Exhibition

.: GÖRELE EXHIBITION at the İsmail Uygar Gallery, 16 May 1946


.: ON HAMİT GÖRELE, Cumhuriyet Newspaper, 25 October 1978

.: TRIBUTE TO AN ARTIST,Art Environment, Cumhuriyet newspaper,November 1978

.: DISCUSSING GÖRELE,Ankara 1982, Turkuaz Art Gallery

.: HAMIT GORELE EXHIBITION at Mimar Sinan University,27 April 1987

.: HAMIT GORELE, A lifetime struggle in the name of TURKISH art

.: A HAMIT GORELE in TURKISH Art History,Cumhuriyet Newspaper, 5 June 1982



19 March 1938, PAINT and COLOUR

 I am an art teacher in a major city on the Central Anatolian plateau. What good Friends are books and brushes on such a city. I work to a timetable I have drawn up for myself: I amake at damn and read until sunrise. Then I paint until it is time for lessons. But when they are over horn difficult it is for my tired mind to find rest. 

I am not hard to please. I do not expect to find museums, art exhibitions, symphony conceits, theatres or zoos in every city of Turkey. Nor I did hope there would be beautiful gardens in every corner of Anatolia. What I miss is a little color; a green hill, a couple of trees. a stream of a lakeside. You must admit that for an art teacher and a painter this is but the most modest wish Imprisoning a man is not only to take away his liberty, but to deprive him of colour. is it not ?

Hamit Görele






AN EXPLANATION, 1967 Academy of Fine Arts ,Exhibition Catalogue

  There was a time when my intellectual friends who visited my exhibition did not know  what to make of my paintings because they mere modem.  They should ask me why I distorted nature so that way, accuse me of making it ugly, and ask why I could not paint nature as it is. 

Time passed... When net convictions an
d a new Concept of painting spread around the world. and began to knock at the doors of our country, and to impinge upon the attitudes and perceptions of our intellectuals, there was a pause. As the reality of Picasso became incapable of objecting to murders carried out in the name of modern art. Today's audiences view exhibitions from a more appropriate angle.  Now let us consider those paintings by Picasso which they found so strange In our literature are there no expressions, no metaphors which lack any resemblance to nature?










My CONCEPT OF ART ,12 - 29 June 1967, Academy of Fine Arts Exhibition

Blue is not beautiful because it is sky and sea. Instaed sea and sky are beautiful because they are blue, Green is not beautiful because it is a tree. Instaed the tree is beautiful because it is green. And the same is true of clouds, mountains and country side So if blue does not need to be either sky or sea, or green a tree n order to be beautiful. Since the sky is beautiful because it is blue, not because it is the sky, and clouds beautiful hence they are white, not because they are clouds, then what justification do our intellectuals have for insisting on nature an nothing else? If you paint a tree blue there is a furor. "Good Lord, how can you have blue trees?" The matter is as simple as that, but by no means as simple to explain









HAMIT GORELE EXHIBITION at İsmail Uygar Galery, 16 May 1946

Hamit has such modern views of art that he truly deserves to be called the "Artist of Tomorrow". Ahmet Rasim put many places in Istanbul onto the literary map, and similarly
Hamit has put Kurtuluş, the district where he lives, and Ayazpaşa into many of his paintings. 

Hizmet Feridun ES












I believe that Hamit Gorele was the first Turkish artist to acknowledge expressionism. 

Adnan Turani








ON HAMIT GORELE, Cumhuriyet newspaper, 25 October 1978

"I thank you for your praise of my exhibition and your sensitivity But what moved me most of all was your reference to the fact that most artists in Turkey have to make a living at another job other than their art. At least teaching art is the best of such alternatives, Zeki Bey. At high school I often yearned to be at my easel, and your words brought these memories flooding back." This is what the artist said when we met – unfortunately, sadly, for the last time – shortly after he opened an exhibition of his work at the Akbank Art Gallery in Osmanbey on 16 October 1/78. That day he had difficulty walking despite the stick in his hand. I left Gorele with a sense of bitterness. Horn many Gorele's had a nation of this size produced,  how many Gorele's had it understood in their lifetimes, and how many did it grant the recognition they had deserved for so long. 






TRIBUTE TO AN ARTIST,Sanat Çevresi, Cumhuriyet, NOVEMBER 1978

Much more remains to be said about the new dimension which Gorele has brought to Turkish art, about his struggle and the power of his work. Those who appreciate the worth of Turkish painting recognise the part he has played.  This has to be the due of an artist whose paintings entitled "Wife, of the Pharaoh" and "The Odalisque" were exhibited beside those of such great contemporary painters as Cezanne,  Matisse, Picasso, Bonnard, Lhote and Soutine as far back as 1930.  A few months ago, at nearly eighty years of age, that same Hamit Gorele traveled to Ankara,  despite health problems which made it difficult for him to walk, in order to meet the new minister of culture and to discuss a proposal with the Turkish Television Corporation.  Neither came about. They even spelt his name wrong in the official reply.  There is no need to go on Director generals and ministers come and go, but artists remain.  The day mill come when not just the paintings of Gorele and many others, but their letters and photographs are eagerly sought by collectors... 

Prof. Türkkaya Ataöv








GÖRELE HAKKINDA SÖYLEŞİ, Ankara 1982, Turkuaz Sanat Galerisi

Görele 'nin çoşkulu ve hatta fırtınalı üslubu beni hep ilgilendirmiştir. Onun doğaya insana ve nesneye bakışı, gerçek bir sanatçı
duyarlılığını yansıtır. Görele'nin yaptığı resimlerde aynı yıllarda, başkaları ile paylaştığı başka hiçbir ortak yön yoktur.

Çok kişisel, çok özgür, lirik ve dışavurumcu nitelikleri vardır, ama bunları bir akımın özellikleri olarak kullanmaz.












Hamit Görele SERGİSİ, Mimar Sinan University publications
27 April 1987

Hamit Gorele is on of the principal artists of modern movement which developed in Turkish Art during hte 1930's. He was the first artist to
oppose the affectation of "pretty pictures" and the conventions of personality, the first to reject idle taboos regardless of the risk of not being accepted.

Prof. Özdemir Altan





HAMİT GÖRELE, Türk resim sanatı adına ömür boyu mücadele.

Apart from the wealth of colour and exuberance ivhich he conveyed on his canvas, Hamit GOrele had a large repertoire of classical and folk songs which he would murmur as he worked. He painted on every kind of material, on magazine pages, sackcloth, on both side of canvases.

His prize-winning masterpieces were sometimes edged with strips of
wood insted of proper frames. He was a campaigner of his ag who gave the doctor a paintings in payment for his medical examination.

He carried on painting until he was so old he could barely stand; he held many exhibitions; and he resolutely fought against apathy and injustice in the name of art Prof. Tokkaya Ataov mentioned this in one of his lectures (Turkuaz Art Gallery. Ankara 1962): "That is the fate of all innovators. Everything must he evaluated in the context of the time.There may be those who today can see little that is new in his words or his work. But at a time when Calli (Turkish painter) reigned supreme, what Gorele did and said was, disturbing to say the least.   He was an artist who should have taught at the Academy of Fine Arts, but was never offered a post  Why  Because he would have discomfited so many people. "Gorele was a prolific artist. 

Devoting his live to art he mentioned in an article ' I have no intention of telling the bitter story of how we got where we are today '

Gorele waged a long , selfless struggle on behalf of modern Turkish art until he migrated from this world.

His loving son,AYDIN GÖRELE





A HAMIT GORELE IN TURKISH ART, Cumhuriyet, 5 June 1982

Gorele created  paintings with the skill of classical painting techniques in which vigorous brushwork predominated.  Crisp, expressive and large brush spots, an regular, thick lines of paint breathing in the thickness of the brush. It is a lyricism sesitively probing the mystique of nature, and in my view also a net kind of impressionist romantic interpretation.  A full, courageous and clynamic, an experienced and mature colourism conveyed freshly palette to canvas, always converging and breathing with this masterful brush technique is the focal point of this fundamental form in Gorele's art.

  And now Hamit Gorele has migrated from this world. One by one these old soldiers from a time, when painting and art were regarded as a kind of amusement, a game, an empty whim silently cleparting. What should we do for the work they have left behind? What should be done to ensure that the reputation of these masters and pioneers who have contributed so much to our national culture lives on for future generations, in recognition of their selfless efforts an creativity. 

Zeki Çakaloz