1937 - expelled from the Academy and the Union of Artists. One of the reasons - friendship "with the enemy of the people" E. Charents.
1939 - restored to membership in the Union of Artists.
1941 - drafted into the army and sent to the front in Kerch. He was released on age back home.
Since 1951 - Honored Artist of Georgia.
1956 - a trip to Moscow at the exhibition gallery in Dresden, then to Leningrad to visit the Hermitage.
1959 - a trip to Leningrad and Kiev.
1960. private visit to Yerevan, the acquaintance and friendship with Minas Avetisyan.
1964-1966 - seriously ill
1966 - died July 20 in Tbilisi.
1967-1968 - held posthumous exhibition in Yerevan, Moscow and Tbilisi.
2002 - published the book "Alexander Bazhbeuk-Melikyan (G. Igityan" Tigran Mets, Yerevan).

Works are in the NGA, the Museum of Oriental Art (Moscow), State Art Museum of Georgia, the State Tretyakov Gallery (Moscow), in the collections of the artist's family members in Yerevan, Tbilisi and Cyprus, as well as in numerous private collections in Armenia and abroad .

"I'll stand by all our mental, physical and mental forces for painting a quiet, highly responsible, restrained, so that each stroke, shape, color and feel would have been thought out, but, of course, this does not mean - dry, lifeless and pedantic. I have referring expression and the joy of the eye, soul and mind of things ...
Now, by the end of my life, though a bit far seen in the painting (I want to say about the original), I am very satisfied with their hard work. Perhaps it comes from a great understanding, and perhaps from a purely pictorial of my weakness. One way or another, but to go with myself to compromise, of course, do not have, and infinitely desirable, so that new things are not quantified, but qualitatively would satisfy me. That's the fight: that no write - to destroy, every time it seems that this time I'll go out a winner. "

Alexander Bazhbeuk-Melikyan
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Not much you can specify the artists whose thoughts and feelings would have been so completely absorbed in art, as happened in the life and work of Alexander Bazhbeuk-Melikian. Life outside of art for him was unthinkable, in the name of art he could make any sacrifice. The happiest hours of the artist were those who were behind the easel. With boundless love for his art, and even with all its fantastic, the Bazhbeuk-Melikian was not a drop of self-love, even more, he was the most severe judge her. Many and hard work on the painting, and he could easily destroy it, if something did not like him in it. The number of destroyed his canvases in several times the number that survived.

Ruben Drampyan
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The story and the beauty of a Bazhbeuka imbued with such deep love and conviction that his paintings of magnetic force attracts the viewer and not forgotten. He urges his seriousness, endowed with the subtle taste, very elegant color. All this makes Bazhbeuka very high and the audience feels that it is - unusual work: they are raised to a kind of cult of ecstasy, they reveal to the viewer a world that is serious and beautiful, and the high altar of the world is a woman and her priest - Bazhbeuk.
Bazhbeuk was a great artist.

Yervand Kochar
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Alexander Bazhbeuk-Melikyan able to see the full and best of all, was capable of with the same delight to watch as the glow color of the body, and in the radiance of colored dirt - like the sun, which makes no distinction between good and evil, the same highlights and evil, and good . In this high conception of the world of things, superior strength of his sense of the gift and no hypertrophy of anything was not able to diminish the purity of his vision ...

Akopdzhan Gharibjanyan
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Bazhbeuk-Melikyan is survived by his idiosyncratic vision of the world and the rare quality paintings, which, of course, was one of the securities acquired by the Armenian culture. The concept is not determined by a national commitment to exotic or geographic attributes, and above all the vision of the artist, his temperament and artistic merit of works. In the end, is not determined by the manipulation of national subjects, drawn from the treasury of the history of his people, and its addition of new, hitherto unknown artistic values.
Nationality Bazhbeuka strikingly feel when you see his paintings in the surroundings of the old Armenian carpets, woodcarving, jewelry, created by folk artists. Like a tuning fork is absolutely accurate, they define the rare kinship of spirit, which does not measure, it can only be felt. Already evident is the enormous role played in our culture, the artist, who lived next to Armenia, but never written a holy Ararat ... Bazhbeuk-Melikyan is one of the most outstanding masters of the composite picture. His theme, plot, more precisely, figurative compositions represent a sample of concentrated thickened painting with deep penetration into the secrets of the old masters and the experience of Impressionist and Post-Impressionists. Such saturation, uniform coordination beautiful relationship to the whole space of the canvas equally active, regardless of the selected object in the period - the achievement of new art, because even the great masters of the past were any conditions to simulate the object to the illusion of perspective, to the full level of reliability and often, inert, devoid of energy backgrounds.
Bazhbeuk-Melikyan - sample conscience of the artist. His art is concerned with cheerfulness. In a seriously ill condition, he, snatching death every day, he wrote. It worked even when he could not clean the palette. Cut off from the city, which he so loved to walk in the evenings, bedridden, he painted Zangezur ", using nature as a landscape daughter - Lavinia. His latest painting "The Dance of Kurdish girls" dated March 7, 1966. She was all lit, sparkling, the youthful, enthusiastic, bright palette of the artist - to the life Bazhbeuk-Melikyan won at the time. His art has won. Won his patience and wise, who knows, if not for the victim and the hardships brought forward by the artist, perhaps today we would not have witnessed the triumph of his paintings.
Henry Igityan
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Pictures http://www.yerevan.ru/news/viewnews/368/now/52/302
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From the site Artinvestment.ru: http://forum.artinvestment.ru/showth...3445&highlight =%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B0%D0 %BD%D0%B4%D1%80 +%D0%91%D0%B0%D0%B6%D0%B1%D0%B5%D1%83%D0%BA-%D0%9C%D0%B5%D0 %BB%D0%B8%D0%BA%D1%8F%D0%BD

At art L.Bazhbeuk-Melikyan very influenced by the work of her father - Alexander Bazhbeuk-Melikian and Saryan. Her works are connected by the traditions of Russian realistic school and the national color of Armenian art. Director, National Center of aesthetic education, art critic Henry Igitian said about the work of the artist at the opening of her solo exhibition in Yerevan in the Union of Artists of Armenia in October 2007: "Many artists in the beginning of his career writing a good picture, but over time their work is becoming more dull and uninteresting. But Lavinia Bazhbeuk-Melikyan is not among these artists. On the contrary, her recent work is even more profound and strong ". Armenian art historian, former director of the National Gallery Shahen Khachatryan noted that the objects and their beauty has always been the focus Lavinia Bazhbeuk-Melikian. Mariam Bazhbeuk-Melikyan, daughter of the artist, noted that the exhibited paintings show interesting psychological Valais, our beautiful landscapes of Armenia, still lifes: "Now only the rare artist focuses on still lifes. We so often pass by the objects around us and things and not pay attention to their beauty. And see the beauty in everything and be able to portray it - this is a special gift. "
Member of the Russia Academy of Arts
People's Artist of Armenian SSR
Honored Artist of Armenian SSR (1967)
 Solo Exhibitions
01.10.2008 -14.10.2008 - the Union of Artists of Armenia, Yerevan
10.04.2007 - 06.05.2007 - in Russia Academy of Fine Arts, Moscow
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  Evgraf DEATH
At first glance, these quivering, white, knows where and why the angels appeared to the artist's still lifes look strange among the ordinary and everyday, it is not "angels" and poetic objects - teapots, empty bottles, bowls, vases and dishes of fruit, jugs and ceramic supports. But these angels, as it symbolizes the divine purpose of these things, illumination of the human mind, talent, hands, and labor that created them at the dawn of civilization, and they are part of what we often forget. This is what we are reminded touching angels.

Now they took off at an exhibition of works of real members of Russia Academy of Arts, People's Artist of Armenian SSR Lavinia Bazhbeuk-Melikian (1922 - 2005), opened in the halls of the Academy Prechistenke. Presented by the 38 still-lifes, portraits and landscapes, executed in the last decade of her life. Then full-scale world for her was limited to a few familiar items in the shop. But these still lifes, she was able to put all the brilliant talent, the ability to disclose the "humanity" are objects, fill them with energy, strength, harmony, to evaluate their high and wisely. In these paintings the artist as a summary of his long career, which was rich and varied.

Lavinia Bazhbeuk-Melikyan was born in Tbilisi. The first teachers were her father, the artist Alexander Bazhbeuk-Melikyan, and Martiros Saryan. In 1941 - 1944 years she worked at Yerevan Art College. In 1951 she graduated from the Moscow Art Institute named after VI Surikov. Then she worked in the studio PD Korin, participated in the creation of mosaic panels at the metro station "Komsomolskaya". Then returned to Armenia.

In his works, presented at today's exhibition, Lavinia Bazhbeuk-Melikyan avoids any scene composition and color showiness, external showiness, artificial complexity - in the plot, style, color system. All very simple, clear, stable, compositionally integral and interrelated. Despite the fact that the painting depicts a dozen times with different subjects. "Everything should be intact! - Liked to talk Lavinia. I sought this imaginative and stylistic unity with great skill, grace and meaningfulness in still lifes, and in portraits. In the women's images - attractiveness, beauty, tenderness, affection, in the male - hardness, strength of character, steadfastness. With these approaches to nature all the portraits are very different, highly individual. Moreover Lavinia shows people her way, familiar.

The same subjects are close to her still lifes. Obviously, they have long been part of the interior of the shop and have become a necessary part of the life of the artist, her life, character, affections. Moreover, Lavinia relationship to reality, even if this reality is represented by only a few mundane things. Let ceramics crumpled tablecloth. All these things are not accidental, not incidental, they are the very image of Lavinia, the image of her creativity. Even if not above them hovers a visible angel, he felt for the artist to these subjects to life, which they embody.

Characteristic feature of still lifes Lavinia Bazhbeuk-Melikyan - their remarkable plasticity, almost sculptural tangibility. This is achieved by combinations of color, golden-red, golden-brown, blue or green tones. Clear, clear, texture, without any blurry shades and nuances. Each color has a definite shape, a definite meaning and purpose of the plastic, the integrity and constructive.

Often Lavinia includes a plastic design image Maillol sculptures, Sarra Lebedeva, Dmitry Shahovskoy, T. Sokolova, sometimes their portraits. She sometimes refers to ancient samples - a textbook of white marble torso, statues, head of Venus, the Greek mask. This is not just visual formality plastic painting - how it relates to the great images of the old with the modern art of reading.

This sculptural, both external and deep inside, still lives in Lavinia - feature of her letters, on which its work recognizably immediately.

Sometimes white sculptures as if they become "angels" in her paintings, giving a definite meaning. High Standards, particularly of ancient art in any way is not contrasted with ordinary things - ceramic cups, bottles, vases, teapots, tablecloths, but instead, put it on equal terms in the art, emphasizing that all of them - and a magnificent sculpture, and pottery cup - works created by the thought, talent, labor and human hands.

Sometimes the angel of illumination, the angel of inspiration comes from an ancient painting. Lavinia is clearly shown in one of his best works, "Self-portrait on the background of the fresco." Here invisible "angel" and pointed to one of the sources of creativity of the artist - an old Christian painting. A Buddha image on the decorative coverlet says Lavinia attention to the mysterious East. Fruit on crumpled tablecloth - an echo of the axiomatic works by Cezanne ...

In art Lavinia oddly mixed, and the Armenian national tradition, and full-scale Russian realistic art, and the charm of French Impressionism, and antiquity. And here before us - a completely original, independent, anyone not like the painter Lavinia Bazhbeuk-Melikian. And there in her later works nor weariness, nor sorrow, nor detachment. It is brave, wise, is committed to the art of love and life.

The Soviet system cruelly with the director and for 15 years, Paradjanov was removed from the movie. In 1973 he was illegally arrested on trumped-up charges and held in prison 5 years in the colony. In prison he made a lot of interesting work. Due to numerous requests to the protection Paradzhanova known cultural figures, he was released in 1977, in fact, he was always free.
Back in Tbilisi, Paradjanov was unable to find work. During these years he wrote scripts and worked with plastic art. In 1982, he again hit the Tbilisi prison without any judicial razberatelstva, where he spent 11 months.

Since the beginning of the restructuring related to Paradzhanova began to change. In 1994, he set "The Legend of Suram fortress" to "Georgia-Film" and in 1988 - Ashik - Kerib. In 1989 S. Paradjanov started shooting an autobiographical film "Confession" to Armenfilm, but began his work was soon interrupted by the progressive disease producer. At the invitation of the Government of France, he arrived for treatment in Paris. Unfortunately, the disease had been cured. In July 1990, Paradjanov died in Yerevan, and was buried in the Pantheon of the capital of Armenia.
Parajanov contribution to the world cinema is first and foremost that he has created a new unique kinomatografichesky language. His poetry tapes were highly appreciated at the International Film Festival in Mar del Plata (1964), Tel Aviv, Munich, Istanbul, Moscow, etc. His films have received more than 30 prizes.
As director of plastic art he has created a new area in his work. In numerous collages, drawings, dolls, created by them, one hears echoes of the different cultures of East and West.
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Immediately after his death, he was named the latest film by the genius of the twentieth century, one of the most paradoxical images of modern culture: a world recognized producer and an ordinary prisoner of the Soviet gulag, the universal favorite, and a thorn in the flesh of the leaders of all types, ironic and merciless interlocutor, both sentimental and vulnerable man, Sergei Paradjanov.

Inner freedom and the constant need for reification of thought led him to the deeply personal artistic creativity. Genetically determined and accumulated over the years, feelings, ideas and passion have given the world the art of not only the avant-garde and unique film language and film-masterpieces, but also gave rise to the other side of his talent. He was very solid and organic - in speech, creative movement, in the strangeness of being in the style of writing in the language of cinema, the flight of fantasy, and throughout life, ultimately, maestro Sergei Paradjanov.
Dolls For Paradzhanova were not only an object of art, but also the silent actors of his performances. dolls, brilliantly made them, have never been more like the man because he depicted the world - the world paradzhanovskogo fiction, living the magic of the wizard.
Forcefully manifested the gift of improvisation and imagination Paradzhanova in numerous collages? planar and volumetric. The element of creativity captures it entirely, as possibilities are endless: photos, dried plants, scraps of fabric and lace, the details of the mechanisms, pieces of glass and porcelain - all of which he mounts on the plane or in space, creating a completely unique world. Techniques of collage, externally accessible, has been a godsend to the producer, which has been the artistic education.
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Exhibitions:
City Year Event Location Date Number of exhibits
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1990 Munich From Einstein to Tarkovsky Lennbahhauz 28/III - 6 /V 14
1991 Kirovakan - Picture Gallery 10 /I 30
1991 Kiev Concert in memory of SP * and a retrospective Cinema House 8 /I - 11 /I 20
1991 Riga Commemorated SP Club artists 18/IV - 21/IV 20
1991 Vienna From Einstein to Tarkovsky Kyunstlerhauz X/91 - I/92 21
1991 Cannes IV cinematic meeting Miramar 10/XII - 31/XII 42
1992 Lodz Retrospective SP Museum of Cinematography 1 /V - 5 /V 13
1992 Kyiv City Day Foundation of Culture of Ukraine 30 /V 18
1992 Ekaterinburg Festival SP Home Cinema 1/VI - 4/VI 20
1992 St. Petersburg Planet Paradzhanov Home Cinema 3/XI - 6/XI 20
1992 Rennes III International Festival Doc. Cinema Nat. Theater Brittany 17/II - 22/II 42
1993 Moscow - Photo Center 15 /I - 30 /I 73
1993 Ekaterinburg Authors concert A. Terterian Regional Philharmonic 27/II 15
1993 Vienna Week Armenian culture Kyunstlerhauz 22/IX - 29/IX 22
1994 Tokyo - Gallery "Our Azab Askalot" 14 /I - 22 /I 10
1994 Tehran International Film Festival Film House 3/II - 18/II 61
Kyiv 1994 - Exhibition Hall of Artists Union of Ukraine 15/XI - 29/XI 80
1994 Sebastopol Festival Chersonesus game "Art Museum. Kraschitskogo 17/XII - 25/XII 32
1994 Thessaloniki International Film Festival Cultural Center "Milo" 13/XI - 22/XI 61
1994 Exhibition of Armenian Art Bochum Bochum goes House 14 /I - 17/IV 61
1994 Moscow Presentation of the album "Paradjanov" Gallery "Moscow Palette" 27/XII - 16 /I 44
1995 Gyumri - Museum of urban life and architecture 2/VIII-25/VIII 50
1995 Rome Festival of memory PP Pasolini Palazzo delle permament 4/XI-4/XII 60
Beijing 1997 Days of Armenian Culture IV 56