Armenian artists

[Евгений]

1891 - born in Tiflis.
1900-1902 - studying in the Cadet Corps.
1903 - studies at the School of Painting and Sculpture of the Caucasian society to promote Fine Arts in Tbilisi.
1910 - went to Moscow, where he studied in the studio Meshkov.
1911-1913 - adopted by a volunteer at the St. Petersburg Academy of Arts.
1914-1917 - drafted into the army. Located on the Austrian and Romanian fronts.
1917 - returned to Tiflis.
1919 - together with Lado Gudiashvili opens an exhibition of his works.
1922-1929 - taught at the studio M. Toidze.
1933-1937 - the Academy of Arts is a course composition.
1935 - personal exhibition in Yerevan. Acquaintance and friendship with Charents.

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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

[Тютчев]

Сообщение от Eugene

Alexander Bazhbeuk-Melikian (1891-1966) ...

Very good artist!

[Евгений]

Born 03.04.1922 in Tbilisi, Georgia in the family of the famous Armenian artist Aleksandr Aleksandrovich Bazhbeuk-Melikian. In 1944 he graduated from art college. P. Terlemezian in Yerevan, and in 1951 the Moscow Art Institute. Surikov. After finishing his studies at the Institute Lavinia worked on the mosaic panel in the Moscow subway under the leadership of the People's Artist of the USSR, PD Korin.

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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.

[Samvel]

Quote from luka77;
(It is strange that the internet is practically no one works Varuzhan Vardanyan, in my opinion the most brilliant, talented artist of Armenia today, I am well acquainted with his works, and with the very artist .. very unique, interesting and talented people. . It would be interesting to acquaint local audiences with his work, work is represented in all major museums of Armenia (although he does not like to give work to the museums) and private collections around the world. In his "expressionist" works of different periods of very clearly, competently, beautiful, powerful, brilliantly passed the basic ideas of the master. Purely my personal opinion, but against the background of Minas Varuzhan rest :-)
It is a pity that there is still no official website of the artist .. although it is not up to it, because experiencing serious health problems and not only ..)
 
 Vardanyan Varujan Vramovich-1948g.r ..
 Born in the village Kachagan Alaverdi p-it. Wed left school with a gold medal and immediately joined the faculty of painting Yerevan artistic Theater Institute, which he graduated in 1972, with honors.

[luka77]

VARUJAN VRAMOVICH VARDANIAN

Born 22.07.1948g. in s.Kachagan (Toumanyan region ASSR).

Graduated from the Yerevan Fine Arts and Theater Institute (1971). He worked as an editor in the department of art at the National Television of Armenia (1971 - 1974).

In 1976 he became a member of the Union of Artists of the USSR. In 1978. - Laureate of Lenin Komsomol of Armenia.

Participated in design magazines and books.

Working in film
He worked as an artist - stage director in Armenfilm (1974-1976)

film Yu Erzinkyan "The green - red world"
Martirosyan movie "End Game"
Exhibitions
Since 1967. participated in the republican and all-Union exhibitions. He had solo exhibitions:

Museum of Contemporary Art of Armenia (5.05. 1976 and 27.05.1994)
in Moscow (January 1987).
in the cultural center "Hay-Art" (05.09.2001g., the exhibition "The Crucifixion")
Compositions
Author of the book "The Return of Minas" (1992), a collection of poems "dirty room" (1994).

Achievements
Academician of the IASP (2003)
Honored Artist of Armenia
Awards
In 1975. won first prize for the best picture of the year "
In 1997. won Society Tekeyan for the best picture of

[luka77]

Samvel, your conference Varuzhan I really liked it, very good work, crucifixes and portraits of unparalleled! I alone his praise what you say about the artist?

And what kind of Ashot in the picture? The rest know

[Samvel]

Сообщение от luka77

Samvel, your conference Varuzhan I really liked it, very good work, crucifixes and portraits of unparalleled! I alone his praise that you say about the artist?

And what kind of Ashot in the picture? The rest know

 I think that the work Varuzhan themselves, better than any art critic speak for themselves.
 In 1980 he started working on this picture, with the desire to show his unity with the Minas, but over time, the characters appeared at the table, from which he may because he could get rid of them presutstvie his findings in a picture of himself.
 In those days, we met almost daily in the evening they had supper together, and often until the morning walking through the empty streets of Yerevan, and sometimes late at night returning to the studio to continue the conversation over a glass of wine.
In one such evening, he was long zhalovolsya that he could not complete the picture, and
probably rewrite. I do not interfere with his creative iskanieya, but said that a third of the cost, vydimo Larikov Igityan, and the silhouette of the item, probably Ashot (Dehts) Oganesyan, which we both are very respected. In the morning, when it went off, he signed the picture, turned and took Saboya. In the taxi, he said that every picture Larikov (they always had a strained relationship) now he gives me. By this time I have had more than 15, and his paintings and donated them all, I would refuse, but he argued that only in my home, Larikov can see this picture and be glad that he painted his (later what happened! ). In 1996 Varujan was at my house, he saw the picture and suggested dorisovat figure Ashot Oganesyan, on the next date of 1980. added 1996.

[Кирилл Сызранский]

Сообщение от Samvel

around the date 1980. added 1997.

96.
- Oh, mama, it says that this gentleman Zagoskina essay. (c)

[Samvel]

Сообщение от Cyril Syzransky

96.
- Oh, mama, it says that this gentleman Zagoskina essay. (c)

Cyril, are you talking about?

[Самвел]

Kojoyan
Hagop Karapetovich [1 (13) .12.1883, Akhaltsikhe, now the Georgian SSR, -24.4.1959, Yerevan], Soviet graphic artist, painter, folk artist of Armenian SSR (1935). He studied in Munich in studio A. Ažbe (1903-1905) and Fine Arts (1905-07). Since 1918 - in Armenia. K.-schedule has been influenced by the medieval Armenian miniature, "World of Art, VA Favorsky [David Sassoon" (watercolor, 1922, Art Gallery of Armenia, Yerevan), the illustrations for the Book Road "E. Charents (gouache, watercolor . 1933), "Anthology of Armenian poetry" (gouache, 1936), collections of songs Sayat-Nova (gouache, 1945), "Armenian folk tales" (gouache, 1955)]. K. worked as a painter ( "Street in Tabriz," 1922, "The massacre of Communists in Zangezur", 1930, "The Birth of David Sassoon", 1947, "In the village of Garni, 1957 - all works in the Art Gallery of Armenia).

Lit.: Drampyan P., AK Kojoyan, M., 1960.