Since ugliness gains its meaning in social life and art as the opposite of beautiful, it is a concept that has renewed its definition as the understanding of beauty changes. For this reason, it has constantly renewed its view as the opposite of beauty throughout the process. Ugliness can be considered as a concept that has begun to exist with humans, but has constantly updated itself. However, there were also times when she was considered morally evil, and transformed the sublime into the despicable and the beautiful into a caricature. Every detail against the ideal could also be seen as ugly. It can be seen that ugliness is perceived from an artistic point of view by going through similar processes. However, it is also seen that ugliness was aestheticized to show critical attitudes in art after the modernization period. Cihat Burak, an important name for Turkish painting, literature and architecture, is one of the artists who show ugliness by emphasizing figure deformation and chaotic compositions in his paintings and can transform this display style into a part of his critical attitude. The ugliness of Cihat Burak's paintings also means that he avoids the details that the artist finds ugly in real life in his ‘dream world and fantasy’ views, which is actually a reflection of his critical attitude. The images of ugliness in the paintings of Cihat Burak can be considered as a criticism of injustice, class discrimination, mediocrity in public life. In this respect, it is necessary to evaluate the ugliness in the artist's paintings in the context of art-social criticism-aesthetics of ugly in the twentieth century. In this paper, the concept of ugly will be discussed first and the meanings of this concept that have changed in the historical process will be briefly mentioned; then it will be focused on how ugliness is handled in the aesthetic context (in art). The aesthetics of ugliness and ugly will be emphasized. It will be evaluated how this aesthetic is reflected in the paintings of Cihat Burak, and in the example of Cihat Burak, generalizations will be made about the way the ugly appears on the aesthetic plane in the twentieth century Turkish painting.