Airs and graces: discovering the yalı where Liszt played. David George captures the original interiors, since destroyed, of Fethi Ahmet Pasha’s Bosphorus house, while Brian Sewell looks at Sinan’s splendours and we uncover Pierre Loti’s harem hoax and the Black Sea’s vanishing bulbs, all served up with cracking good nut recipes
Unlike the much older Venice Biennale, at the Istanbul Biennial there was a feeling of youthful experimentation.
A storm one cold winter’s day in Rome brought Jean-Etienne Liotard to Istanbul. In a café where he took refuge from the rain, he met an Englishman, William Ponsonby, the future Earl of Bessborough, who invited the painter to join his party on a tour of the East. Liotard accepted, and they set sail from Naples on April 3, 1738.
He was the most prolific architect of all time and his legacy endures in the great mosques created for Süleyman the Magnificent. Yet, as Brian Sewell discovers, this contemporary of Michelangelo is barely known to the West. Brian Sewell admires his legacy. Photographs by Ara Güler.
The Mocan Yalı, in the pretty village of Kuzguncuk, half a mile upstream from Üsküdar, is relatively old, decidedly large and incontrovertibly pink. Sultans stayed in it, and Liszt played in it. The yalı was purchased by the Toprak family shortly after this article was published. The interior of the house was gutted and only the facade remains. The images published in this article are a unique historical record of a centuries-old house and were taken by David George for Cornucopia in 1992
The French novelist Pierre Loti caused a stir in the 1900s when he championed the cause of Turkish women. But just who were the three veiled women who gave him his information? Ömer Koç reports on an infamous literary deception
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