Armenian artists - Страница 84 - Форум по искусству и инвестициям в искусство

Armenian artists · 04.01.2010, 08:21

Armenian artists on our site ARTinvestment.RU

A

National Gallery of Armenia
Minas Avetisyan (1928-1975)
Hakob Hakobyan
Hmayak Hakobyan
125th anniversary of Sedrak Arakelyan
Avakimyan Makarovich Victor (1935 -2007)
Agamyan Karen Gurgenovich
Avanesyan S. Rook
Vahan Ananian (1959-2007)
Aslamazyan Arshakovna Miriam (1907-2006)
Aslamazyan Eranui Arshakovna (1910-1998)
Arutyunyan, NA Solov'eva, Arutyunyan, SA, Solovieva AV
Avoyan Ayvaz
Adalyan Ruben
Avakian, Sergei
Armenian Ceramics of Jerusalem
Armenian Ceramics of Jerusalem (2)
Armenian Ceramics of Jerusalem (Marie Balian)
Armenian ancient ceramics (Jerusalem).
Arthur Avetisyan, Ananikyan Hagop (1919-1972gg), Ananian Pato (1908-1991), Gagik Antashyan, Michael Arakelian, Vahram Haroutunian, Arutchyan Sergei Voskan Asatryan, Rafael Atoyan
Abajian Edward
Agamyan Karen
Arevik Arevshatian
Aladzhalov Manuel Hristoforovich
Amalbashyan Sarkis
Robert G. Avetisyan
died folk artist Edward Artsrunyan
Suren Ayvazian
Suren Abrahamian Artashesovich
Abrahamian Seda Artashesovna
Abrahamian Elena Levonovna
Abrahamian Vladimir Smbatovich
Abrahamian Karapet Rafaelovich
Abrahamyan Sargis Surenovich
Abrahamian David Aramaisovich
Abajian Eduvrd Gareginovich
Abrahamian Artashes Saakovich
Abrahamyan Gagik Aramaisovich
Atamyan Karabed Charles (1872-1947)
Stepan Aghajanian Meliksetovich (1863 - 1940)
Gyumri home Aslamazyan sisters
Arutyunyan, NA Solov'eva, Arutyunyan, SA, Solovieva AV
Arpine Vartanovna Bekaryan
Ashot Adamian Kh (1951g.r.)
Adamian Olivia Ashotovna (1974g.r.)
Adamian Ovsepovich Stepan (1959.)
Harutyunyan, Anna (1976)
Stepan Aghajanian Meliksetovich (1863 - 1940)
Adiyan Anna V. (born 1972)
Azatyan Alexander Tadevosovich (1930gr)
Azatyan Levon Garushevich - 1957gr.
Azizian Tsolak L.
Susanna Azatyan Garushevna - 1947gr.
Azizian Tsolak (Private collection of pictures)
Abraham Azarian Karapetovich (1950gr).
Azizian Minasovich Gregory (1923 to 2009)
Azizian Rafael Karenovich-1937gr
Azizian Khachatur Surenovich-1948gr
Azizian Isabella Hachaturovna - 1973gr.
Atayan Alexander Keropovich-1953gr.
Armen Atayan Arshakovich-1922gr.
Atayan Armen (2)
Museum of the History of Armenia

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Just Armenia ... I really like this country ..

Евгений · 02.11.2010, 06:13

Цитата:

Сообщение от luka77

Hagop Sukiasyan is one of the best selling and favorite" live "classical Armenian art collectors among the Western Armenian.

Arthur thanks so much for information on artists, works otlichnye.V your gallery is a collection of Akop Sukiasyan?

luka77 · 02.11.2010, 12:17

Цитата:

Сообщение от Eugene

Agassi, many thanks for the info about the artist, the work otlichnye.U Akop Sukiasyan have a website where you can see more of? (Price level on the artist please)

Eugene, the site had not, and generally very little information about the artist on the Internet, was issued a catalog of 7.5 years ago with an introductory article Akop Akopyan. Price (if bought in Yerevan) until $ 1500-2000, the main customers - the American galleries and collectors. Photos of works of my post I took a picture of Roslyn (note the number of sold works, 16 of 19)
http://www.roslin.com/artinfo/artfra...soukiasyan.htm

The artist is really interesting, including for investment. Despite his age works very much. Unfortunately, during this trip could not get into his studio, I hope next year to fix it.

Евгений · 08.11.2010, 17:39

Цитата:

Сообщение от vyadem

MacDougall's Auctions 1-2 Dec 1910

MacDougall's published a catalog of future auctions.

Lot 385.
SARYAN, MARTIROS (1880-1972)

Landscape, signed and dated 1929, further signed in Armenian, dated and numbered "1237" on the reverse.
Oil on cardboard, 49.5 by 70 cm.

150,000-200,000 pounds

Provenance: Collection of Academician Artem Alikhanyan, Yerevan Physics Institute, Armenia.

Private collection, USA.

Exhibited: International Business Forum, Yerevan, Armenia, 1998.

Related Literature: S.
Khachatouryan, Martiros Saryan, Samara, Agni, 2003, p.
237 and p.
239.

http://www.macdougallauction.com/?gc...FQtsugodDxCWVQ

Евгений · 08.11.2010, 17:46

464.
NALBANDIAN, DMITRI (1906-1993)

The Farm Girl, signed.
Oil on canvas, 117.5 by 95 cm.

30,000-40,000 pounds

http://www.macdougallauction.com/?gc...FQtsugodDxCWVQ

Евгений · 10.11.2010, 07:48

Alexander Genis (New York)

Alexander Genis: Today, visiting hours'American'- Irina Bahchanyan with which we are talking about the first anniversary of the death Vagrich. Our conversation is accompanied by a musical opus, which we at the Radio'Freedom'has always been connected with it - this is a snippet of an instrumental suite by Bach, which the musicians known as a'joke'by Bach. Friends often cut long Vagrich name and called him'Bach.' His first book Vagrich in Russia and signed as a rebus: portrait Iogannna Sebastian Bach +'Chan,'that is obtained Bahchanyan. Well, joke, as everyone knows, he could and loved.

Вложение 1017001

First of all, we need to open a small trade secret. Well known to regular listeners to'American'Irina hours Savinov, which we owe a lot of interesting and unexpected interview in our program, and is known under a different name - Bahchanyan. Wife, friend and muse Vagrich itself a kind of artist Irina today, before the first anniversary of the death Bakhchanian, tell us about how fate for its artistic heritage.

Ira, the first year - the most important in the post-mortem fate of the artist. Alas, it was after the death of the artist becomes clear to his role in the artistic process, in the history of art. What happened this year with Vagrich?

Irina Bahchanyan: Despite the fact that Vagrich most physically there, his work continues to stand. I know, for example, that in the month of January gallery'Stella'exhibited his series of cartoons titled'Americans Russian eyes.'

Alexander Genis: This is not just a series of cartoons, this is a huge easel paintings, which carried the cartoons as early as this, I would say, academic manner.

Irina Bahchanyan: That's right, they produce quite monumental and impressive impression. They were more than forty, each - thirty to forty inches, that is, it turns out impressive, a tremendous wall of a completely insane image, which was characterized at the time when they appeared in, say, the journal'Crocodile'.

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luka77 · 11.11.2010, 14:22

Enjoy the beauty, Dear friends!

Almost all of the unknown spectator, so as not exposed and were not printed in the catalogs of the Master.

"The most difficult days for the art fair unadulterated palette Bazhbeuka been a beacon for oscillating, for the prodigal and the weak, who knew that in Tiflis quiet lives Bazhbeuk-Melikyan, and hence there is, live the real art. Rejected by socialist realism, in solitude, nothing did not take, do not ask, just gave, and gave himself to all that God had given him. He opposed the people themselves, to God only because they are not what he imagined them, and put to death themselves because of this. Today from the walls of museums dozens of eyes looking at us men again Bazhbeuka-Melikian, naive jugglers and acrobats ... And in the eyes of many of these we continue to see a pair of dark, kind eyes unchanged.

Agassi Ayvazian

Rare originality and captivating sweetness of "creativity Alexander Bazhbeuk-Melikov's still not yet fully appreciated. Its like Pirosmani, Van Gogh, Modigliani, recognized only after death, but this recognition has muddled and superficial. He is glorified, but not understood. It is often seen only exotic and almost harem "east." Meanwhile, A. Bazhbeuk-Melikov one of the most daring and brilliant artists of our century romantics. Sparkling fantasy and poetic imagery of the artist and his wonderful visual art had its foundation deep, convinced humanity that permeated the entire history of the Armenian culture. And what could be more valuable to humanity and controversial drama of our age?

Alexander Kamensky

luka77 · 11.11.2010, 14:29

According to estimates of family members, he created nearly two thousand paintings, of which remained at about two hundred.
The rest he killed with all the ruthlessness.
In the year of his death, left 110 works.

dedulya37 · 11.11.2010, 16:22

luka77,

Wow!
Thank you!

Игорь Гурьев · 12.11.2010, 22:30

Wow!

Евгений · 13.11.2010, 19:47

D. Nalbandian (1906-1993) at the dacha (1949)

Oil on canvas 54 x 67 cm

Signed at the bottom of the canvas

900 000 - 1200000 p.

LOT 16 http://www.shishkin-gallery.ru/aucti...16.html#bottom

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Russian Art

Thursday, November 25 at 19:30

Collection auction http://www.shishkin-gallery.ru/aucti...125_page1.html

08.11.2010, 17:46	Язык оригинала: Русский #834
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,458 раз(а) в 4,506 сообщениях Записей в дневнике: 271 Репутация: 32445	Auction MacDougall's Auctions 1-2 Dec 10, Nalbandian, DA (1906-1993) 464. NALBANDIAN, DMITRI (1906-1993) The Farm Girl, signed. Oil on canvas, 117.5 by 95 cm. 30,000-40,000 pounds http://www.macdougallauction.com/?gc...FQtsugodDxCWVQ Миниатюры

10.11.2010, 07:48	Язык оригинала: Русский #835
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,458 раз(а) в 4,506 сообщениях Записей в дневнике: 271 Репутация: 32445	Artist of the word. By the anniversary of the death Vagrich Bakhchanian Alexander Genis (New York) Alexander Genis: Today, visiting hours'American'- Irina Bahchanyan with which we are talking about the first anniversary of the death Vagrich. Our conversation is accompanied by a musical opus, which we at the Radio'Freedom'has always been connected with it - this is a snippet of an instrumental suite by Bach, which the musicians known as a'joke'by Bach. Friends often cut long Vagrich name and called him'Bach.' His first book Vagrich in Russia and signed as a rebus: portrait Iogannna Sebastian Bach +'Chan,'that is obtained Bahchanyan. Well, joke, as everyone knows, he could and loved. Вложение 1017001 First of all, we need to open a small trade secret. Well known to regular listeners to'American'Irina hours Savinov, which we owe a lot of interesting and unexpected interview in our program, and is known under a different name - Bahchanyan. Wife, friend and muse Vagrich itself a kind of artist Irina today, before the first anniversary of the death Bakhchanian, tell us about how fate for its artistic heritage. Ira, the first year - the most important in the post-mortem fate of the artist. Alas, it was after the death of the artist becomes clear to his role in the artistic process, in the history of art. What happened this year with Vagrich? Irina Bahchanyan: Despite the fact that Vagrich most physically there, his work continues to stand. I know, for example, that in the month of January gallery'Stella'exhibited his series of cartoons titled'Americans Russian eyes.' Alexander Genis: This is not just a series of cartoons, this is a huge easel paintings, which carried the cartoons as early as this, I would say, academic manner. Irina Bahchanyan: That's right, they produce quite monumental and impressive impression. They were more than forty, each - thirty to forty inches, that is, it turns out impressive, a tremendous wall of a completely insane image, which was characterized at the time when they appeared in, say, the journal'Crocodile'. Читать дальше... Alexander Genis: I remember how it looked in SoHo, where these works were exhibited for the first time. Americans stood and looked at herself through a shop window. Watch for it was very funny. Irina Bahchanyan: I do not know how that turned out funny. Alexander Genis: I was amused to see this picture. Irina Bahchanyan: It's funny, I think. And then there was an exhibition at the National Centre of Contemporary Art, which were, incidentally, works from the collection of a collector from Vologda German Titov, who was very receptive and very friendly mood in relation not just to artists, and especially to such as Vagrich. Titov - a big fan and enthusiast of conceptual art in general and Moscow in particular. He has a publishing house (apparently it's his favorite toy) and he publishes books by artists who fall into this category. Only that, I got copies of books entitled'Compositions Vagrich Bakhchanian.' Alexander Genis: we'll talk about later, but for now let us return to the exhibitions. How Vagrich treated to shows in general? Irina Bahchanyan: Y Vagrich were all strange relationship with public relations as such. He believed that this is not a function of the artist. Function of the artist - to come up with the idea of somewhere to fix it is not necessarily in any technique, and forget about it, put a full stop. The idea came, it was fixed and after that it does not matter what happens - it will be done in the form of paintings, in the form of films, in book form, whether it will be printed, published. All the same he was. Alexander Genis: is interesting. At the same time I can remember Bahchanyan, at the very beginning of life in America,'exhibition was arranged one day.' Irina Bahchanyan: immediately, as soon as we arrived in New York, literally took two or three years, as Vagrich started happenings. At that time it was very fashionable, came from Europe and the artists with similar entry, it hung in the air, you had to do it. And he did it. In 1978 he made an exhibition, called it'Thirty shows in one day.' We started with a gallery on Madison, somewhere in Uptown, then went down to the very Soho Vagrich photographed and recorded the time when he stood with a placard on his chest that read'Respect the time.' Alexander Genis: That is, it was a show-Orientation meeting? Irina Bahchanyan: Yes, and sometimes even less. But we went to thirty galleries. By the way, then it was very amusing to observe that most of the galleries, then it was impossible to find anywhere - all gone. Alexander Genis: It - New York, everything is changing very rapidly. Ira, and what a solo exhibition Vagrich you think should have been arranged, and how it should be organized? Now, if the director were you? Irina Bahchanyan: This issue is very complicated, because I am just now in the process of sorting his papers. I laid out from one corner to another: in this corner are books, in this corner are frottazhi in this corner are collages, and so on. Then they are sorted by year. It is important to all this add up to more or less logical system, and after that we can already begin to say which show the form in which this happens. Alexander Genis: That's about it and talk. How best to show Vagrich: chronologically or by genre? Irina Bahchanyan: You know, it's probably going to be very dependent on how the gallery, the gallery owner himself, or who it will suit, react to such creativity. My idea was (and I - extremist), and set one work from each series, which he did. We say one book, one frottazh, a phone book, one sculpture, one box with pictures, one of his burly tack, abstract works. One from each direction, with which he was fond of. Alexander Genis: How many typed? Irina Bahchanyan: On the show enough. Alexander Genis: This is really an extremist idea, because I'm too sorry for the rest. Now, if I were asked, I would do an exhibition like the house - each room would be another Bahchanyan. In one room - his visual work in another - conceptual work, which you can browse, you can touch, and the third would be minimalistke work in the fourth - some collages, in the fifth - only the cover. And, in my opinion, this would have been a great show. In addition, it can be made virtual. I know that Vagrich could not stand the word, but his art is, in principle, suitable for the Internet. This is the same - the idea, but not in heavy canvas baguette framed for academic museums. Irina Bahchanyan: I can not say that I share your enthusiasm for the Internet. I believe that this is not quite right. Because it seems when you see the work directly alive when they can see, smell and touch, is quite another. Internet is wonderful as an information tool - you can put a teeny, tiny icons of some work and there would be some information is present. But no more. Alexander Genis: That is, the right thing? Вложение 1017031 Irina Bahchanyan:[/B][/I] Yes, in principle, and the market is always preferred. Alexander Genis: I remember that in recent years Vagrich endured his early collages to large canvases. For example, his excellent work'Lolita,'which Lenin presses to the chest a little girl. Irina Bahchanyan: That's right. It was a tribute to market conditions, it is said,'sag'. *Alexander Genis:* it is not similar. Irina Bahchanyan: did not want to do terrible whining and very upset about this topic, but still did. Alexander Genis: And I understand the collector who wants a small processing not made for the magazine, and a great thing to hang on the wall - like, say, Komar and Melamid. Irina Bahchanyan: And what do you do with Klee, what to do with Kurt Shvitersom who work very tiny? Alexander Genis: That's what I Vagrich and said:'A Klee what to do?'. Irina Bahchanyan: That's right. Alexander Genis: il, one of the last lifetime Vagrich exhibitions held in Vladivostok. Exposure, at the behest of curators, were three Armenians - Saryan, Nalbandian and Bahchanyan. Vagrich always loved the first, but in reality it was closer to the second - both the leaders portrayed in different guises. I know that Vagrich never been to Armenia. As it relates to Armenia, as Armenia is it? Irina Bahchanyan: Vagrich never open any manifestos did, just by nature he was Armenian, and this could not be anywhere to go. Genetically, he felt an Armenian and it was noticeable in all his behavior, in absolutely any displays. He has always been Armenian - wise, sarcastic, a bit mystical. That's all he had and this was not anywhere to go. As for this show, then I certainly say that the Armenian landscapes Saryan - absolutely fantastic. And I remember that Vagrich really liked them because of color, because of the purely pictorial element. Alexander Genis: almost abstract. And in Armenia on Vagrich think? Irina Bahchanyan: In Armenia, as it appears due to the Internet more and more often, its starting to take over her as earlier he still considered a Russian artist. Vagrich, incidentally, has very little in Armenian, barely, but they now believe that he - Armenian artist and gradually begin to drive up to it from different sides. This is a normal phenomenon, so perhaps it should be. For my part, too, am trying to put some kind of, well, bridges. I want to establish a modest stipend for young artists, mostly up to 20 years. Alexander Genis: Name Bakhchanian? Вложение 1017011 Irina Bahchanyan:[/B][/I] Of course. This is an organization called'Naregatsi Art Institute'and with them we are just now working on all sorts of parts and details. Work Vagrich are already in Armenia - even before our departure into exile, he gave a series (as I felt sorry for these jobs!), Gave to the Museum of Contemporary Art in Yerevan, and they are there. Alexander Genis: That is, even in Soviet times they took the work Vagrich? And what is this series was? Irina Bahchanyan: A series of abstract works, but very beautiful. I think that probably it was frottazhi, I now just can not remember. Vagrich in Armenia has never been, but with a great interest has always considered all the possible journals, books, all the information about Armenia. He was with great interest and pleasure to listen to Armenian music. In addition, he loved classical music, with very great interest and love Vagrich belonged to the Armenian composers. Alexander Genis: Il in my hand the first posthumous book Bakhchanian called'Works'. Submit it please the audience - how and who produced? Irina Bahchanyan: book'Collected Works'was composed almost entirely for his life, he almost saw everything and knew how it would be done and, in general, presented a more or less exactly how it will all be. Alexander Genis: And the name of it, too? Irina Bahchanyan: The name of it, too, and ideas for decorating, too, were his. For me, it only stood to bring it to some final form, that is to make a digital format, to make illustrations, load it all onto a DVD and send it. Basically - just edit and assemble it all together. Compositions - 1 st to 155 th. The first, probably about thirty, related to the 70 th year, then go 80's, 90's, and until recently. 155 different editions. Alexander Genis: It should be remembered that the'Collected Works'is exactly works, such as those that write school students. Irina Bahchanyan: Yes, Vagrich imagined what it's like on the job - you come to school and you say:'Today we work on such a subject ' '. And he would sit down and do something such writing. The book was published by the collector, which I mentioned in the first part of our interview - German Titov. This is - a businessman based in Vologda. He has, in addition to his business, there is absolutely insatiable interest and desire to promote Russian artists, and he is one of the publishers who belong to him, and they, apparently, somewhat, to publish this book. The book looks very well, even with color illustrations. Alexander Genis: The book, in my opinion, very beautiful, neat and very in style Vagrich. But the contents of this book, of course, quite deadly. The fact that the'Collected Works,'I explained to the audience, a conceptual action in the genre of literature. In youth we dam a'splash'- random, often nonsensical words grip on the sound or meaning. For example, the case. Composition No. 66 begins as follows: 'in December outside the window, and a tooth for a tooth is unlikely to fall, as in the tale of Balde, fans Baudelaire - Flower villain in fiction.' Ira, how to use this book? How to read it? Irina Bahchanyan: A reader has had before his eyes, and Joyce, and Beckett, so I think he has already learned to deal with such texts. But one must read slowly and carefully, because there really is, as you said, each word is associated with subsequent, and in addition there is meaningful because of this connection, so you need to read is extremely concentrated. Alexander Genis: Vagrich called himself'an artist of speech.' And indeed this game with the text can be viewed as manipulating graphic material, that is, the book can be read from any location, it can be read in any order. And what happens when each reading - is unknown, because it is - an explosive read, is not it? Irina Bahchanyan: is not so. Can not be read from any location, because Vagrich just all strung from the first word. First comes the first word - for example,'creeps'- and then start stringing of. So until the end of words are all connected. Some sense always present, so you can not get into the text in the middle. Alexander Genis: That is, like beads or a rosary? Irina Bahchanyan: Absolutely, yes. What is true for any works - they all need to read from beginning to end, not only Bakhchanian Alexander Genis: Including a dictionary or phone book? Irina Bahchanyan: Done right. By the way, the telephone book. You know, I am before you go into the studio, opened the phone book, I needed some room. The fact that this book has Vagrich, all records are made to them, and, interestingly, on pages where missing names - say, the letter'M'were very few names - in the empty space it fits his phrases, which he folded his arm at the time. And, look what I found on the road. He had written: 'Breakfast on the grass of oblivion.' Portrait of a'no'similarities,'skeleton to the bone','Kulik turn.' And, most dear:'The priest had a dog, he loved her, she ate his cassock, he killed her'. Alexander Genis: Of course, Vagrich always run up against trouble, especially with the clergy. You know, something like that, I think, did Venichka Erofeev's poem'Moscow-End of the Line.' Recently, in the'New'the newspaper published a diary entry from Erofeev, and there is something similar to Vagrich. Look, for instance, is: 'You go right - crap finds, on the left - Brezhnev said.' Or both: 'construction project pipeline of tear gas'. Vagrich since met with Yerofeyev? Irina Bahchanyan: We were with Yerofeyev on very good terms. At a time when we rented an apartment in Pushkin, in the heart of the city, our apartment has become (though not flat, and the room, rather) the place where everything went down the road. And Venia Erofeev was one among those people who have visited. He went with his fireman, which is known to be one of the heroes of his works. I remember once we had an absolutely fantastic meeting, and opened it without Vagrich, he was at this time at the office. First came St. Petersburg poet Sergei Wolf, then went Maramzin, then - Venia Erofeev and his fireman, then - the Caliph, and then went to Leonid Gubanov, then - Statsinsky. And Statsinsky came with a bottle of vodka is very bad, and for many this vodka was totally not on the teeth - you can drink, and immediately began to beat you, because she was nowhere fully. When Vagrich came and saw all this company, he just became ill. Alexander Genis: The list of guests like to play Bakhchanian. Irina Bahchanyan: Yes, among the people who went there was another actor Smoktunovsky. Alexander Genis: Il Vagrich worked a lot with books. What it means for him the book as a unit of his art? Irina Bahchanyan: This is - all of Armenian origin, the Armenian genes: Matenadaran. In the film'The Color of Pomegranates Parajanov'his favorite scene was one where the dried books. And he has the book had a special relationship - the desire to collect his scattered ideas together so that they remain in a sort of compact form. Book, he represented the box, where to put his thoughts. Alexander Genis: is interesting in this case that Vagrich thought books - no matter how young they were. Knowingly Maria V. Rozanov released his three remarkable miniature books. Among them are my favorite -'anthology Poems from different years,'which includes works by various poets who Vagrich attributed to one author, Irina Bahchanyan: Another book called'Signac eye.' Alexander Genis: which consists entirely of points. Irina Bahchanyan:'Signac eye or puantel Aviv poem'- the full name. Alexander Genis: These books were very popular with Dovlatov, since he himself was the author of the book'Invisible.' Irina Bahchanyan: Y Vagrich book is often turned into an object. One of these books, it is now in the J. Paul Getty Museum, is as follows. On the cover glued on part of the metal box from under the tobacco inside of all the pages are covered with glue first, and then covered with tobacco crumbs. Alexander Genis: And I really liked his layout of books in an unnatural size. One is simply called'Quiet Flows the Don Quixote.' Ira, what else is waiting for us on the part of book production? Irina Bahchanyan: in the Publishing House'New Literary Review'is working on the last book Vagrich, which includes his latest jokes, all sorts of amusing phrases. This book will be called'Notebook'Bakhchanian, too, with his illustrations with his artwork. The manuscript is already in the publishing house. Alexander Genis: il, now, alas, we can talk about Vagrich in historical terms. What is the role of his art in the history of modern culture? As he himself refers to this issue? I did remember that the problem is a priority for him was very painful. Post-Modernism'- said Vagrich - is when all I steal.' He even had a joke:'Sentence: Prigov - a thief.' Prigov, I must say, the phrase has evaluated and included in his book. Irina Bahchanyan: Are you familiar with the work Vagrich, therefore, probably, it seems that define him some niche is very difficult. He did some things that were primarily interested in himself. He worked on his own aims, and his intention was not to push apart someone elbows, find yourself a place and at this point to take hold. He is completely indifferent attitude to any PR. Of course, he was pleased to see their work printed in some editions, or read a critical article, where he was mentioned, but do nothing for that he would not. Why so hard to tell where his place. Vagrich works in the genre of'Bahchanyan.' And I think that we need and do it: individually - art history, and separately - Bahchanyan. Alexander Genis: latter question. For us, friends Vagrich, it was Mozart - all of it was easy and instantaneous, but only you, Ira, you know, Vagrich worked. Вложение 1017021 Irina Bahchanyan:[/B][/I] Vagrich not worked, lived and Vagrich all the time doing something. Once awake, he served as an exercise - makes the picture that he created every day for 15 years. It was the kind of charge. And then started something else: work with the dictionary, some sketches, some ideas and all that. This lasted all day - until then, until he went to bed. And even necessarily next to the bed lay a sheet of paper, notebooks and pencils, because the middle of the night he woke up and something to do again. That is, it was a way of life. Alexander Genis: And it's easy to give? Irina Bahchanyan: He was given all easy, because he always did just what he wanted. Миниатюры

11.11.2010, 14:22	Язык оригинала: Русский #836
luka77 Старожил Регистрация: 25.12.2009 Сообщений: 652 Спасибо: 9,123 Поблагодарили 2,524 раз(а) в 496 сообщениях Репутация: 4980	Alexander Bazhbeuk-Melikian (1891-1966). Works from private and museum collections. Enjoy the beauty, Dear friends! Almost all of the unknown spectator, so as not exposed and were not printed in the catalogs of the Master. "The most difficult days for the art fair unadulterated palette Bazhbeuka been a beacon for oscillating, for the prodigal and the weak, who knew that in Tiflis quiet lives Bazhbeuk-Melikyan, and hence there is, live the real art. Rejected by socialist realism, in solitude, nothing did not take, do not ask, just gave, and gave himself to all that God had given him. He opposed the people themselves, to God only because they are not what he imagined them, and put to death themselves because of this. Today from the walls of museums dozens of eyes looking at us men again Bazhbeuka-Melikian, naive jugglers and acrobats ... And in the eyes of many of these we continue to see a pair of dark, kind eyes unchanged. Agassi Ayvazian Rare originality and captivating sweetness of "creativity Alexander Bazhbeuk-Melikov's still not yet fully appreciated. Its like Pirosmani, Van Gogh, Modigliani, recognized only after death, but this recognition has muddled and superficial. He is glorified, but not understood. It is often seen only exotic and almost harem "east." Meanwhile, A. Bazhbeuk-Melikov one of the most daring and brilliant artists of our century romantics. Sparkling fantasy and poetic imagery of the artist and his wonderful visual art had its foundation deep, convinced humanity that permeated the entire history of the Armenian culture. And what could be more valuable to humanity and controversial drama of our age? Alexander Kamensky Миниатюры

11.11.2010, 14:29	Язык оригинала: Русский #837
luka77 Старожил Регистрация: 25.12.2009 Сообщений: 652 Спасибо: 9,123 Поблагодарили 2,524 раз(а) в 496 сообщениях Репутация: 4980	Alexander Bazhbeuk-Melikian (1891-1966). Works from private and museum collections. (Cont.) According to estimates of family members, he created nearly two thousand paintings, of which remained at about two hundred. The rest he killed with all the ruthlessness. In the year of his death, left 110 works. Миниатюры

13.11.2010, 19:47	Язык оригинала: Русский #840
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,458 раз(а) в 4,506 сообщениях Записей в дневнике: 271 Репутация: 32445	Leonid Shishkin Gallery, the auction on November 25. D. Nalbandian (1906-1993) at the dacha (1949) Oil on canvas 54 x 67 cm Signed at the bottom of the canvas 900 000 - 1200000 p. LOT 16 http://www.shishkin-gallery.ru/aucti...16.html#bottom ------------------------------------------- Russian Art Thursday, November 25 at 19:30 Collection auction http://www.shishkin-gallery.ru/aucti...125_page1.html Миниатюры

11.11.2010, 16:22	Язык оригинала: Русский #838
dedulya37 Гуру Регистрация: 24.05.2008 Сообщений: 5,017 Спасибо: 5,605 Поблагодарили 6,167 раз(а) в 1,669 сообщениях Репутация: 9525	luka77, Wow! Thank you!

12.11.2010, 22:30	Язык оригинала: Русский #839
Игорь Гурьев Гуру Регистрация: 01.07.2009 Адрес: город П. Сообщений: 4,939 Спасибо: 6,544 Поблагодарили 6,620 раз(а) в 2,829 сообщениях Репутация: 13305	Wow!

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