Armenian artists

[usynin2]

Join in the condolences! Because of a handful of "bad people" and the villains suffer any of innocent people, Lord, save their innocent souls.
Kingdom of heaven!

[Евгений]

Misha Grigoryan Grishovich born 3 December 1946 in Leninakan in Armenia. In 1970 he graduated from Yerevan Art College. P. Terlemezian. In Chuvashia arrived on distribution. He graduated in 1978, Chuvash State Pedagogical Institute. IJ Yakovlev and stayed to teach at the department of painting.
Since 1971 takes part in all exhibitions organized by the Union of Artists of Russia and Chuvashia. He participated in the four zonal shows "Big Volga", the exhibition "The World defended - the world 'Save' (Moscow, 1985)," Fatherland "(Moscow, 1999), an art exhibition (Hamburg, Germany, 1993)," Russia (Moscow, 2001), "1700 years - Christianity in Armenia" (Cheboksary, 2001).
Solo Exhibitions: 1996 (Cheboksary), "Flowers for Ludmila (Cheboksary, 1999), 2000 (g.Tsyurih, Switzerland).
In 1997 he was awarded the honorary title "Honored Artist of the Chuvash Republic" in 2002 - "People's Artist of the Chuvash Republic.

[Nara]

Arshak Fetvachyan (1863 -1947 Trabzon, New York)
Primary education in the art school of the city of Constantinople (Istanbul), then in 1887 he graduated from the College of the Arts of Constantinople under the leadership of El Salvador Vallery, later - the Rome Academy of Arts Sv.Luki.
Fetvachyan lived and worked in Tbilisi, Europe, USA and Armenia.
In 1919 he became a designer of banknotes (with 50, 100, 250 rubles), issued in 1920 by the Government of the First Republic of Armenia.
   Basically Fetvachyan known for his cycle of works on which he depicted the cultural and historical monuments of Western Armenia. At the beginning of XX century, the artist with the expedition of Nicholas Marr visited the ruins of Ani and imprinted architectural monuments of historical Armenia. In addition, a significant part of the heritage Fetvachyana up work, depicting Armenian women in the national costumes of various regions of the country, a series of paintings devoted to Venice.

[Евгений]

1941 - Born in Tbilisi.
1960 - moved to Yerevan.
1965 - Graduated from painting department of the Yerevan artistic-but-Theatre Institute.

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since 1965 - a permanent Republican party, Union and international group exhibitions (Armenia, Bulgaria, Poland, USA, Germany, Latvia, Lithuania, Russia, Britain, Canada, France, Egypt).
From 1969 - engaged in scenography in Armenia and abroad.
Is the art director of a number of films at the studio "Armenfilm.
Since 1970 - Member of the Union of Artists of Armenia.
Since 1977 - Honored Artist of Armenia.
1981 - was awarded the State Prize of Armenia.
In 1987, Secretary of CX Armenia.
Since 1988 - Member of the Board CX Armenia.
2001 - Merit in the field of national culture, was awarded the Medal Movses Khorenatsi. "
2004 - was awarded the Presidential Award.
2006-2007 - participant, the Armenian culture in Paris.

Solo Exhibitions:

1966 - Union of Architects of Armenia.
1978 - CX Armenia.
1981 - in different cities of Germany.
1984 - Art Museum, Vilnius.
1992 - Hotel Carlton, Beirut.
1993 - Gallery "Garik Basmadzhyan, Paris.
1994 - together with Henry and Areg Elibekyanami in the center "Amagzain, Montreal, Canada.
1999 - "Gallerie Soleil", Montreal, Canada.
2003 - solo exhibition at the Union of Artists, Yerevan.
2007 - Exhibition at the center of Armenian culture "Tekeyan", Montreal.

His works are in the national museums of Armenia, Georgia, Russia (Tretyakov Gallery, the Museum of the East), Italy, USA (White House, Washington, the Museum of Alex Manoogian, Detroit, Museum Zimerli, New Jersey, etc.), France (Elysee Palace, Paris ), in private collections in Armenia and abroad.

In recent years the artist has successfully cooperated with galleries "Soleil" (Canada) and "Daniel Besseiche" (France).
By topic:
Elibekyan Henry Elibekyan Robert
Elibekyan Henry (2)

[Евгений]

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

[Samvel]

Сообщение от Eugene

Since 1977 - has taught painting at the State Pedagogical Institute. Kh (Yerevan).

He taught and brought up a lot of good, talented artists.

[Евгений]

Life Shaverdian was divided between Georgia and Armenia. He was born in 1900 in a small picturesque Georgian town Sighnagi family agronomist. Soon after the death of his father's family moved to Tiflis closer to relatives, where Shaverdian and lived until 1941. Almost magical charm of this city in many ways defined the content and plot, much of the range of paintings and ceramic works by the artist. For Shaverdian, as for many other Armenian artists who were born and started their careers in this city, Tbilisi has a separate theme of creativity and emphasizes color and originality of its unique artistic design. In his art manifested a deep understanding of national identity, this is difficult to determined the artistic element, which can not be reduced either to the manner, nor to the form.

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Ruben Isaakovich Shaverdian received his artistic education in the school of painting and sculpture at the Tbilisi Academy of Arts. His teachers were Yeghisheh Tatevosyan, B. A. Vogel and A. Salzman. In 1924 Shaverdian graduated, and in 1926 became a regular participant in art exhibitions. Shaverdian, like Giotto, largely shaped communion with the creative community of Armenian writers, poets, artists and composers Tbilisi Ayartun.

Even the earliest works of the artist featured a mature artistic thinking. Unfortunately, we can not contemplate them in the original, because the painting of this period, almost does not come down to our days, broke up, mainly on the hands of random buyers. One of these works - still life "Dresden china", was listed among the exhibition in Moscow in 1926. This picture of the artist said about his passion for the decorative side of art. It is estimated art, already recognizable Shaverdian, which entered the history of Armenian painting as the artist who created based on the traditions of a unique and far from the traditional style of painting and ceramics.

Shaverdian artistic nature manifested itself in many areas. Besides talent for drawing, nature has given him another talent: music. Music took him as seriously as painting. He grew up in a family where she was an integral part of everyday life. His father was a very musical person, and his brother Alexander Isakovich-known pianist and musicologist. A passion for music was so severe that he became a professional singer Shaverdian. The artist had a beautiful tenor voice and studied with local celebrity Italian Emilio Vaga. From 1920 to 1928 Shaverdian played in the Tbilisi Opera Theatre, performing solos, and even going to work on probation in Italy. But soon he had to choose between music and painting. He made a choice in favor of art forms and colors. However, in its special and unique style forever intertwined music, painting and plastic arts.


Nature gifts Shaverdian theatrical in its essence, a special atmosphere, combining objects and figures in his compositions, dictated by purely musical rhythm. The artist was very fond of the theater, and this love has not passed over the years. A special theatrical vision into the favorite story lines Shaverdian forming a whole series of paintings and ceramics, tea, bazaars, fruit stalls ... In these paintings and sculptural compositions played like a number of staging. His sculpture is not just the actors, are distinguished by a special character and psychology, as expressed through the plastic gestures and facial expression, and for them more suitable definition of "character". All ceramic figurines lurks an element of theatrical toy.

All his work evokes associations with the ancient theater, and each sculpture and painting has its own special dialogue with the audience. From each character seemed to be waiting distinct replicas. The world of the artist inhabited by beings with different characters and moods, happy, serious and prim, sad and funny, bombastic and dodgy, slow, or the expansive ... This is not just a handful of figures, are actors, which the artist freely dispose of. For all its apparent static nature, being next to each other, they are included in some action, "playing the" chain of episodes and mikrosyuzhetov, creating a kind of ceramic "choreography."

All artistic thinking deeply Shaverdian plastic. Artist features a special love for dance moves, and he often pushes off from its figurative language. Shaverdian created a large series of figures of musicians: girls with tambourines, with shepherds flute and duduk, minstrels with sazami, drummers. All of them are characterized by a flexible plastic dance. Izyublennaya artist theme of dance and music accompanied him all his life. Especially I would like to make a sculpture "The Poet", in which the author through a static form could express in a special plastic shapes a sense of poetic inspiration, possession of a poet, and the particular nature of artistic spirit.

Shaverdian began to systematically deal with ceramics in 1955. In 1950-1960-ies, a new attitude to nature decorative by bringing it closer to its figurative nature of painting, sculpture, graphics. Spectacular and theatrical nature of ceramics Shaverdian, her sculptural depiction are consistent evidenced in these years a shift in thinking plastic ideal. Shaverdian became the first ceramist, confirmed in his work principle vneutilitarnosti. He created dishes, vessels, vases, candle holders not designed for practical needs. You can not imagine that any of its decorative vessels could be used as a receptacle for wine or water as a flower vase - so strong their artistic imagery and self-value! It is with Shaverdian started a whole new phase in the history of Armenian art of ceramics.
Now, looking at some of the sculptural work of the artist, it is hard to believe that they have created more than half a century ago, is so strong in their spirit, definitively established in the Armenian ceramics much later. Shaverdian like no one else knew how to extract subtle color effects of a combination of clay with a glaze, always subtly playing on with a special property of the glaze to give an uneven surface, streaks and cracks most raznooobraznyh forms. In 1958 he became one of the organizers of the experimental ceramic workshop at the Art Institute of the Academy of Sciences of the Armenian SSR. In 1960 it was nachatopromyshlennoe production of ceramic works Shaverdian.

Stocky silhouette of a miniature "Women of Aparan" (1965), created without any express elements of the relief decoration, has a characteristic of folk sculpture rough naivete. Lines and shapes the shoulders, arms and calmly crossed on the abdomen, scarcely visible to the general background of the entire one-piece action figures, embodying the ideal of popular parlor, always related to the strength, endurance and the ability of people to resist the challenges of life. This miniature of the sculpture, as did many other created by the wizard, there is a conscious focus on style Shaverdian traditions of folk iskusstva.Esche a striking example of this commitment is manifest in the sculpture "agaman (salt), a small vessel, barns for storing salt , the subject of people's everyday items, which are always attached to the form of a female figure. These products are now in his new masters, continue to remain an integral part of the national interior and interesting means of expression to create a modern folk-ethnographic decor. Contemplation of them raises a number of associations to mind about the special features of Armenian women, those stubborn peasants, that even today in spite of all the new trends continue to host life in the old Armenian house, hard and zealously keeping its patriarchal structure, tonir sink, oven pita bread, churn butter ... Shaverdian owns several sculptures - solonok, which can be called the reference in a number of works of this type.

All shaverdyanovskih paintings and sculptures, perfume compositions of antiquity. They are naive folklore and folk-wise. At times, impossible to find a line where primitiviziruyuschaya manner of performance inferior methods artist professional. These techniques in a manner Shaverdian merged into one. The artist says just a simple, not sinking to the level of primitives in the literal sense of the word.

Shaverdian possessed a wide erudition in matters of the eastern heritage and artistic comprehended in his work experience in all eastern traditions. In the forms of his figures guessed echoes of Arab or Indian sculpture. Sometimes they seem to be drawn from the ancient Iranian graphic scenes of feudal culture. In the painting of porcelain and ceramic dishes easily recognizable features of Sasanian art.
In 1941, Ruben Isaakovich Shaverdian moved with his family to Yerevan. Since then linked his fate with Armenia. He began to perceive it as a completely new country, re-discovering their homeland. In the work Shaverdian appeared Armenian motifs. In all his paintings and sculptures of the Armenian period reflect the special hot colors of the Armenian land, the warmth of the sun and the souls of Armenian. Since 1941, he regularly participated in the field expeditions Izoperedvizhnyh workshops. Adjoining to the nature of Armenia during the trips, Shaverdian made numerous sketches and studies. In districts and villages, the artist was captivated by local touch every corner. Landscapes from the artist is not so much: "Byurakan" (1973), "Ahavnadzor" (1968), and several others. They all differ bright decorative expressiveness. The color of the sky or the water gets a piercing blue, the shadows are made brighter, more contrast than in reality. In his paintings there is no half-tones, each color is the most sonorous. There's always prevails bright noon, and there is no place of rain, fog and wind. He often selects the object is not the main color, but the one who tells him a decorative flair. Is the case, say, a yellow earth, the mountains - so red? Such a sharpening of observations can be found only in the figurative forms of primitive folk art, or in children's illustration. Details in the paintings of the artist is always extremely gnomic: two or three peaked triangle - a jagged mountain horizon, two or three sprays of stylized trees, a garden, an abundance of autumn bazaar - a bunch of ripe fruit or a bunch of grapes.

Living in Yerevan, Ruben Isaakovich returned again and again to the memories of the city of his youth. Established Shaverdian gallery Tiflis types of unique and different: the shopkeepers, fishermen, musicians, city cheats, drunken kintos important old, white-faced beauty, touching love, wedding and family groups. Each member of the group portraits, constructed under the scheme of three ages, stood in front of the camera, though it is in the style of old family photographs, paintings "Family" 1975, "Family, Vaspurakan" in 1971. The artist tells of the city and its people with a good sense of humor and easy cunning, always elegantly and with love. Special sharp and stylized specificity, subtle humor is different figure "Quinto", created in 1968.

Each canvas Shaverdian is there are two levels-one of them home, and another level of artistic generalization-symbol. Everything has a place in the world of artist's concerns and joys, weekdays and holidays. Colorful miniature Shaverdian develop in polyphonic and coherent life suite. Their heroes are usually occupied by the village concerns and work: women baking pita bread, go to the spring to fetch water, they spin, weave, resting, trapeznichayut, rushing to market with the birds and fruit, followed by shuffling donkeys loaded down with bells on his neck ... These miniature chamber do not differ outside purely realistic verisimilitude.
 Their art space is not equal to domestic space. It is static, calm and two-dimensional, as Shaverdian hardly distinguishes the volume portrays things. But the artist is making something else: he gives his compositions by synthesis. From juicy genre of market scenes, feasts of some shabby, it would seem, an image he can make a special local flavor. Each plot situation in his miniatures based on reality. The artist sees the world of tactile and textural. This impressive color saturation and accuracy of the image, combined with the ease of reporting thumbnails Shaverdian special charm. How to ease splits his people at the table, as different paints a tribe of quadrupeds breadwinners workaholic, donkeys. Here they are rushing to market with heavy luggage, but all other donkeys, dressed in elegant, long necks. They are created in the tradition of folk toys from their ingenuous animal painting grotesque. Shaverdian likes to dwell at length on a single motif, move from painting to ceramics individual figures or entire ensembles. It seems that the characters oil paintings, separating from the canvas, continue to exist in the ceramic, altering its plastic nature. Such, for example, slender figures of the sculptural group "Girls of the Ararat Valley (1967), similar to stretching up the trunks of trees.

One of the favorite motifs of the artist-mother surrounded by children. Shaverdian greatly enhances a woman's figure downward, to the countless folds of her skirt suddenly peeping kids, or extends his hands to them room for a couple kids. Through this deliberate playfully grotesque receive artist conveys the full dignity of bearing mother of the family, its economic soundness and love for posterity. The same idea is dictated by the candlestick in the form of a female figure, created by analogy with the ancient pagan ritual vessels. Around the main stem candlesticks are seven small figures in two rows, merging into a single, circular dance, the personification of the family or genus - "Family. Candlestick. The image of the Armenian women one of the favorite images Shaverdian, often occupied him in painting, and ceramics. I can not say that this motif is original and new, but the master could give him a fresh sound. In the elongated, curved shapes and contours it has preserved the harmony that is characteristic of classical prototypes, figures from the paintings of antique bowls or miniature medieval Armenian manuscripts. Sometimes in his image flickers similarities with ancient portraits Ovnatanyana. Look eyed Armenian girls with his paintings simply, simple-minded. Their faces remain expressionless mask as a slightly exaggerated facial expressions. All these images, despite their pronounced lyricism, characterized and mild, barely noticeable and softly expressed by the artist comic, slightly felt in the ceremonial gestures, and how they taraschat their unblinking eyes.

Skill of the artist and sculptor, has been appreciated by: in 1965 he was awarded the title of Honored Artist of Armenian SSR. And 2 years later, in 1967, he was awarded the title People's Artist of Armenian SSR.

In the works of Ruben Shaverdian frequent images of children and girls with birds. Curls framing the face, sometimes turn into doves. They flutter on the shoulders, touch the heavy hair, sit on his hands ... Such figurative symbolism inherent in folk art, and image of a bird associated with ancient beliefs, ranging from the pagan past. Birds were considered as bringing good fortune, their cult was connected with the cult of the sun, fertility, with the idea of immortality of the soul. Shaverdian treated and thus the oral folklore as Kery Taurus and Nazar the Brave. He shut out the world of oral folklore from the world of fine folk. Among these works stands the sculpture "Kery Toros", inspired by the eponymous character of the epic "Dawood Sassoon." In a static sculptural figure lurking concentration and the resilience of this immortal representative of the famous family.

Leading to his creative motivations Shaverdian endured and the many fine dishes, "meal", 1969. And on the lid and the walls painted decorative boxes. Transferring to the porcelain surface of individual subjects or their fragments, a child with a donkey, a dancer, musician, horseman, family, Shaverdian inscribes them in terms of dishes, specially having the figure. The round shape of plates serves him as a frame in which the artistic work space should fit most organic way.

In 1958 the artist seriously and permanently carried away by the technique of decorative coatings. Lacquered miniature attracted his attention by its brightness, the bright light and subtlety of color image. In this area of arts and crafts Shaverdian demonstrated the ability to find a harmonious relationship of ornament and story, pick up an interesting color color.

Artistic talent Shaverdian was truly multi-faceted. He was engaged in creating designs for carpets, paintings and porcelain, and industrial graphics, and even a massive area of artistic production, as the design of labels for wines and brandies.
Author's ideal of the artist has not changed over the years that did not prevent him from responding to the changes taking place in the decorative art and painting.
In the picturesque still lifes created in the last years of his life, the old theme of the artist acquire a new sharp contemporary sound. These are the "Still Life with kamancha" (1973) and "Still Life with ceramics" (1972). In the rhythmic contours, cutting each other in the distribution of energy is felt throughout the color clear constructive. However, in these paintings still craving for intense decoration, which is the hallmark of style Shaverdian.
 Skill of the artist and sculptor, has been appreciated by: in 1965 he was awarded the title of Honored Artist of Armenian SSR. And 2 years later, in 1967, he was awarded the title People's Artist of Armenian SSR.

In the works of Ruben Shaverdian frequent images of children and girls with birds. Curls framing the face, sometimes turn into doves. They flutter on the shoulders, touch the heavy hair, sit on his hands ... Such figurative symbolism inherent in folk art, and image of a bird associated with ancient beliefs, ranging from the pagan past. Birds were considered as bringing good fortune, their cult was connected with the cult of the sun, fertility, with the idea of immortality of the soul. Shaverdian treated and thus the oral folklore as Kery Taurus and Nazar the Brave. He shut out the world of oral folklore from the world of fine folk. Among these works stands the sculpture "Kery Toros", inspired by the eponymous character of the epic "Dawood Sassoon." In a static sculptural figure lurking concentration and the resilience of this immortal representative of the famous family.

Leading to his creative motivations Shaverdian endured and the many fine dishes, "meal", 1969. And on the lid and the walls painted decorative boxes. Transferring to the porcelain surface of individual subjects or their fragments, a child with a donkey, a dancer, musician, horseman, family, Shaverdian inscribes them in terms of dishes, specially having the figure. The round shape of plates serves him as a frame in which the artistic work space should fit most organic way.

In 1958 the artist seriously and permanently carried away by the technique of decorative coatings. Lacquered miniature attracted his attention by its brightness, the bright light and subtlety of color image. In this area of arts and crafts Shaverdian demonstrated the ability to find a harmonious relationship of ornament and story, pick up an interesting color color.

Artistic talent Shaverdian was truly multi-faceted. He was engaged in creating designs for carpets, paintings and porcelain, and industrial graphics, and even a massive area of artistic production, as the design of labels for wines and brandies.
Author's ideal of the artist has not changed over the years that did not prevent him from responding to the changes taking place in the decorative art and painting.
In the picturesque still lifes created in the last years of life, old themes of the artist acquire a new sharp contemporary sound. These are the "Still Life with kamancha" (1973) and "Still life with pottery (1972). In the rhythmic contours, cutting each other in the distribution of energy is felt throughout the color clear constructive. However, in these pictures still craving for intense decoration, which is the hallmark of style Shaverdian. It is felt in the nature of the comparison of disparate rounded shapes ("Still Life with kamancha"), and sprawled silhouettes of ceramic objects in their modeling of the coarse ("Still life with pottery").

For over fifty years the name of Ruben Isaakovich Shaverdian was associated with the development of Armenian art. He was one of the first to realize the rich possibilities of arts and crafts as an independent form of artistic creativity. All works Shaverdian an impressive and unique manner. Such language can not be designed. You just have to think and feel as thought and felt this wizard. This energetic man had a lot of creative ideas and plans, he tried his hand in many of these strands and the last day kept courage and hard work. He was indefatigable and remained true to himself and his artistic cravings throughout life. Shaverdian caught not so much the flavor of a bygone era, as its a viable "residue" knockout in today's existence. That is why his art is so vital.

Sona Parsadanyan

 

Sorry, no photos of paintings, of sculptures and other works of this remarkable artist (EA)

[Евгений]

Oganesyan Samvel Aykazovich
 Born April 6, 1950 in Yerevan.
Art historian, a member of the Artists Union of Armenia and the Artists Union of Russia.
In 1976. Being the head. Participated in the organization of three Youth Theatres (Chamber, Experimental Theatre and Miniatures), which are to this day.
S. Oganesyan over 30 years collecting works of art (painting, sculpture, graphics), avant-garde direction. Since the mid 80's to their annual S. Oganesyan became interested in artists Belyutinskoy studio and now in his collection of more than half a thousand works of artists studios.
[/SPOILER]
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Tata Simonyan + Lyubov Uspenskaya (song)
1.Na photo Belyutin SV EM, Oganesyan, SA

[Nara]

Сообщение от Eugene

Sorry, no photos of paintings, of sculptures and other works of this talented artist (EA)

Here, found some pictures. The quality is not very, but the general idea, in my opinion, it is possible to make.

[Nara]

Edward Isabekian (1914, Igdir, Turkey, - 2007, Ashtarak, Armenia)
People's Artist of Armenia, laureate of state prizes and awards.
In 1941 he graduated from the Painting Department of the Tbilisi Academy of Arts.
Since 1945 - teaching at the Yerevan Fine Arts and Theatre Institute.
From 1967-1986 was Director of the National Gallery of Armenia.
People's Artist of Armenia, professor.
Member of the Union of Artists.
The author of the monumental painting with the dynamic composition and civil, patriotic sounding.