1939 - Born in Tbilisi.
Since 1958 - lives in Yerevan.
1966 - graduated from the Art-Theatre Institute (Yerevan).
Since 1969 - member of the republican, union and international exhibitions (Armenia, Russia, the Baltic countries, Lebanon, France, Italy, England, USA).
1970-75 - in charge of Sector of Fine Arts at the House of Art Education (Yerevan).
Since 1977 - has taught painting at the State Pedagogical Institute. Kh (Yerevan).
Solo Exhibitions:
1984 - Yerevan
1999 - Beirut
In the collection of G. Basmadzhyana work were exhibitors at the Tretyakov Gallery (Moscow), in the Hermitage (St. Petersburg), FIAC-e (Paris).
His works are in the Museum of Modern Art, NGA (Yerevan), in numerous private collections and galleries in Armenia and abroad.
Rarely happens when the artist and his works are competing with each other on their phenomenal features: artistry and intellectual grounds, free thinking and generous skills.
A unique personality and original art by Edward Harazyana are proof of the above: one of the exclusive representatives of Yerevan and cultural environment, whose life itself is already a concentration of art, and his work - the belief that freedom - a way of life. Imbued with the spirit of a new and national, his works are imbued with, which has become a rarity these days, humanistic concepts, bold exploration and identification of new forms and shape.
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A painter, graphic artist, set designer and a brilliant teacher, whom he called a sign of respect for the maestro, the game turned into a religion of form and color, conventionality, theatricality and spiritual atmosphere in which the depicted object or person, releasing from its previous state, are space harazyanovskogo art ("Submission", 1972, "Brave Nazar", 1972, "Nazarestan, 1972). However, the literary scene basis of these works is losing the decision purely pictorial tasks ("Still Life at the window", 1984, "Still Life with Mirror", 1984, "Still Life with a dummy", 1980). In art Harazyana is a cycle of works deserving special attention: the first stand-alone image of miniature painting is placed in the context of a completely new environment.
Direct and indirect references to language miniatures are made by different modifications: comparative, installation, overlapping (cycle "Miniature Painting", 1990 and 1998.).
The emergence and overlapping of abstractions, installations, minimalist surfaces, art becomes Harazyana in polyphonic multivalued philosophical act, with the expansion and deepening of the spatial-temporal parameters ("Eastern rhythms", 1983-93gg., "Shadow", 1989-99gg., "Memoirs" "Footprints", "Visions", 1990-95gg.).
Performed in a minimalist color and immersed in a transparent light "Gifts" (2007-08), addressed the great M. Saryan and A. Gorki - Air Force colors, decaying gilding, quivering surface light silver.
These and other cycles of the last period ("Still Life", 2001, "Dzorahpyur", 2006) are colorful metaphors of different mental states and visions: ekzistentsialisticheskih effectively and associative on multivalency.
Edward Harazyan one of the few artists who would dare to portray a clean background of the picture in the manner hyperrealism apple with a star shine. This minimalist image of a bunch of allegories on the theme of man and time, which can be expressed only in the language of great art.
Pogos Aytayan