摘要：In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as the means of modernization and Westernization. Therefore, impressionism, cubism, realism, and classicism were supported by the state as a formal artistic understanding. This attitude continued until the 1940s and artists painted certain subject matters on the basis of these art movements. The main theme and subject matters were the presentations of an idealized society such as palace＇s life, attractive women in Western appearance, happy peasants, war heroes, and beautiful views from the country. In the early 1940s, significant breakup began to take place in point of the theme and the subject matter of art. Social realism began to take shape for the first time in art in Turkey. The artists of Yeniler Grubu （Newcomers Group） focused on social phenomena related disadvantaged social groups rather than an idealized society. Some artists among the 1950 generation, especially Nedim Gunsur, Nuri iyem, and Miimtaz Yener, focused on migration and social problems that occurred correspondingly in the 1960s and 1970s. This paper aims to investigate how these artists depicted and interpreted the migration and its consequences.