Alik Eleyjian's Journey Through Armenian Art History by aeleyj

ALIK ELEYJIANâ&#x20AC;&#x2122;S

Journey Through

Armenian Art History

for

MY FAMILY

MY CULTURE

In honor of

The 1.5 million Armenian Genocide victims

the survivors

TABLE of CONTENTS

Introduction to Armenian Art History Chapter one The History of Armenia The Middle Ages The Armenian Genocide Twentieth Century – Modern Armenia

9-16 12 13 14-16

Chapter two Pre-Christian and Christian Art

17-20

Chapter three Armenian Folk Art 20-26 Wood 21 Clay 22 Rugs & Carpets 23 Needle 24 Costume 25-26 Chapter four Modern Armenian Art 27-58 Realism 31-34 Romanticism 35-37 Impressionism 38-40 Expressionism 41-46 Abstract & Surrealism 47-53 Other Visual Artists 54-58 Chapter five Today’s Armenian Artists

51-69

Conclusion to Armenian Art History References Endnotes 74-79 Bibliography 80-82 Image References 83-90

INTRODUCTION

to ARMENIAN ART HISTORY

Armenia is a small, humble, country but maintains a unique beauty. Armenians have struggled and hung on to its traditions and cultures. During the greatest tragedy to the Armenians, the Armenian genocide left Armenians weakened. When Armenia became part of the Soviet Union, Armenians felt that their culture was slipping away. However, the Armenian arts and its artists kept a dying culture alive. Armenian artists revived and expanded the culture to more than just Armenia but to lands afar. In the beginning, Armenia was one of the strongest and greatest kingdoms. It was rich in its culture, the people were noble, and craftsmen were surely talented. They sculpted temples and statues that adorn their cities. As Armenia evolved to Christianity, their architecture evolved from temples to churches and monasteries. Their depictions of the teachings of God were laid out beautifully with iconography and on manuscripts. The Armenian people were creative and stood out from other cultures of this time. However, Armenia was not always so mighty beautiful and powerful. During the 16th century, Armenia fell in the hands of Turkish and Persian empires. It struggled through the ages to hold on to its small culture. Art was not produced but Armenians found their daily occupations to produce art which carried on all the way through the Ottoman Empire and that are still practiced today. After the Armenian genocide committed by the Ottoman Empire and by the Young Turk revolutionary party, Armenians suffered a tremendous loss. Many escaped but never were able to let go the haunting experience. Some of these Armenians that fled to the diasporas were artists. These artists main theme through their artwork that they all share are nostalgia. They all craved to be a part of the motherland in one way or another but yet were tormented by the tragic memories. Today Armenian artists have flourished all over the world; a particular young artist named Ani Ishkhanian was describing her influences of Arshile Gorky and Kochar. She stated in her interview: “The Armenian culture is so rich in this craft, there’s always something you’ve missed the first time around.” The arts derived from Armenian artists are very exquisite, deep and remarkable that there is no way to go about it. It has influenced history, it influences us today, and will continue to influence in the future. The artwork created by the Armenians brought a new sense of style within movements; it brought a sense of uniqueness. Their artwork was new but yet it kept very old traditions, memories and stories. Armenians today seek the history as their duty to keep traditions and the history alive through stories written and told, art, architecture, monuments and sculptures, and many other forms of art. Like many forms of art, Armenian art has transformed in many ways but yet has kept consistency on its roots and heritage. Even though Armenia has fought and lost many battles, been tortured and traumatized they continue to survive and to tell their stories. Through time Armenian artists have felt a separation anxiety towards their culture. In order for the culture to be kept alive, Armenian artists have been able to produce work hat influence and continue to impact within all art history with tragic yet blissful architecture, paintings, textiles and other art forms.

CHAPTER ONE

THE HISTORY ////// of \\\\\\ ARMENIA

Armenia, “Haiastan” in Armenian, is a diminutive, landlocked country bordered by Turkey, Georgia, Nagarno-Karabakh, Azerbaijan and Iran. Armenia and its kingdoms once were settled within the mountains of Mount Ararat, the mountains where Noah’s ark came to rest. Ararat was and is the symbol for the Armenian nation. The small country many Armenians refer to as “Hairenik” (fatherland) contains the history just as big as the Greeks, Persian Empire or the Roman Empire. Historical Armenia is not precisely identifiable however, many locations geographically near Armenia show the estimate of historic Armenia-controlled lands: “One estimate of what constitutes historical Armenia suggests an area of 239,320 square miles, another considering historical and geographical Armenia, suggests about 154,440 square miles, whilst the territory actually under Armenian rule c.56 BC—AD 298 was much less, only about 108,108 square miles”1.

Armenians’ are an ancient culture due to the fact that they have arrived from ancient people. Whether it was Urartu territory with Assyrian, Hittite or Armaic influence, the kingdom of Armenia arose from the other ancient cultures. “The kingdom of Urartu emerged in the region of Arme-Shupria in about 870 B.C. under King Aramu I”2. The Armenian language and culture is influenced by the Urartians evolving to become Indo-European origin. “For the next hundred years, the Highland region became a boiling cauldron of peoples and cultures made up of the tribes of the Urartian Federation, other local peoples, and the invaders. At the end of this time, one group within the Urartian Federation had become dominant and replaced the rulers of Urartu. It was this group who came to be known as Armenians” 3.

1.1 Map of the Kingdom of Urartu 10

Throughout Armenian arts and culture, religion plays a very important role. In 301 A.D., Armenia became the first nation to adopt Christianity as the official state religion under the rule of Trdat III. Legend goes that Gregory the Illuminator had converted from his Pagan religion to Christianity. King Trdat II had ordered Pagan traditions to Gregory to act upon, however, Gregory refused. Trdat dictated for Gregory to be thrown in Khor Virap, an underground pit, to starve and suffer to death. Gregory was kept alive by and old woman who would throw food in the pit for him to eat. When Trdat became ill, the king’s sister dreamt that Gregory was the one who cured him. When they released Gregory, he then cured the King through the power of the Christian faith. The King had an epiphany and respect for the cure; he adopted Christianity to be the nation’s official religion.

1.2 Armenian King, Tigranes The Great

Ancient Greeks and Persians considered the population of the area to be Armenians; however Armenians refer themselves as the children of Hayk. The legendary story of how Armenia came to be is uttered daily in the mouths of Armenians and when people refer Armenia as Hayastan. Hayastan comes from the name Hayk, and it is the country of the “Hay” people. Hayk was under the rule and command of Bel of Babylon, during battle, Hayk revolted against Bel by killing him, he then established a new kingdom which came to be known as the land of Hays, or Hayastan. Armenia’s most powerful kingdom flourished in the time of Tigranes the Great. “Tigranes was much more successful on his own account. He took Sophene. He recovered seventy valleys… He subjugated Atropatene, Adiabene, and Gordyene… He raided Media, subordinated Commagene and Osrhoene (Mesopotamia), and took over Syria as far as Egypt”4. Through wars and battles, the area was conquered by the Roman Empire. 1.3 St. Gregory the Illuminator 11

The M iddl e A ges Armenians played an important role in the Byzantine history. Whether it was religious, architecturally imperative, or political, “Armenians reached the highest level of Byzantine society”5. Armenia contributed with military power as well as intellectual leadership. “Within Byzantium’s intellectual leadership the Armenian element was most marked in the ninth-century cultural revival. The patron Caesar Bardas, and the scholars Patriarch Photius, Patriarch John the Grammarian6 and Leo the Philosopher were Armenian… The greatest positions of leadership in Byzantium was of course that the emperor, and some of the greatest emperors have also been credited with Armenian origins”7. The Armenian Kingdom of Cilicia emerged shortly after Ani, the city of 1001 churches, when the Seljuk Turks conquered Ani. King Gagik II along with Roupen and other Armenians escaped to Cilicia, which was under Byzantine rule. Eventually Cilicia was established as the Armenian Kingdom. Redgate explains the crucial role Cilicia contained within the Byzantium era: “The Armenian aristocracy and its monarchy in Cilicia did in fact change under external influences as western Crusaders established themselves nearby in the twelfth century. Relations between Cilicia and the Norman principality of Antioch were particularly close, and by the Armenian Leo II’s reign the influence of western ‘feudalism’ on Cilician elite society is apparent”8.

1.4 Armenian Cilician king, King Leo II

1.5 Map of Armenian Kingdom of Cilicia 12

T he Armenian Genocide During the rule of Sultan Abdul Hamid II, Armenians were treated unequally with high taxes, low-paying jobs, and massacres that were the consequences of a government who did not like the Christian minority. During the fall of the Sultan Hamid, the Young Turk party took over the government along with the three perpetrators of the Armenian Genocide:Talaat Pasha, Enver Pasha, and Cemal Pasha. They treated Armenians equally and allowed them to serve in the military. Armenians felt that there was hope and things were looking up. During World War I many Armenians sided with the Russian army, which became a huge threat to the Ottoman Turks. The Ottoman Turks felt the Armenians were in the way for them to win the war and in the way for them to have an all-Muslim empire. The first step the Ottoman government took in order to abolish the Armenian race within the empire was to exterminate the intellectuals9.

1.6 Photograph of massacred children

It was easier to carry out the extermination of a race with the politicians, scholars and nobles wiped out. Historians, like Taner Akcam, have used telegrams in their research to prove this theory: “A telegram sent to the region requested that it prepare ‘the military warehouse in Ayas for the arrival of the Armenian detainees to be sent there.’ A second order sent on the same date states that ‘180 Armenian… leaders’ would arrive on train #64, and of these ’67 of the individuals would be secured in the military warehouse’ while the others would be sent to Cankiri”10. After the removal of the intellectuals, the Armenian people within the villages of the empire were forced out of their homes. The deportation of the Armenian people is known to have happened due to documents of telegrams sent by Talaat Pasha to get rid of the Armenians, and how the deportations were established. The men were taken to be killed or even killed in front of their families. Women and many children were raped, deprived from food and tortured, as they were forced to set their journey to the deserts of what is now Syria. 1.7 Photograph of an article published, New York Times, 1915 13

Twentieth Century -Modern Armenia In May 1918, Armenia became a republic for the first time, however it did not last long because it was to become part of the Soviet Union. During the first independence of Armenia, conflict and war broke out with neighboring Azerbajian. In The History of Armenia, Payaslian explains: “Armenian troops advance towards Voontsovka and the regions of Haghpat and Akhova”11, under the command of General Dro. “After the initial successful advance, Dro’s forces launched a major offensive toward Tiflis. The warring parties finally agreed to truce mediate by the Allied Powers”12. On March 1919 Georgia and Armenia “agreed to create a joint commission on transportation, while the finance ministries worked toward a common monetary union”13. When Azerbaijan gained more control over Baku and Ganja, as well as plan to take over control in Karabagh, Armenians resisted by force against Turkish and Azeri forces. Unfortunately Armenian forces could not been able to oppose

1.8 General Drastamat Kanayan

against Muslim military force. The Armenian government also could have made no relations with united Turkey simply because of the massacres and genocide committed against the Armenian people. The Armenian government established Act of United Armenia—which was to unite Western Armenia exclusively including, Sivas, Kharpert, Diarbekir, and Cilicia with the Republic of Armenia. However, Cilicia was under control of the French due to the genocide committed earlier within the 20th century. The Turkish Nationalist army took control of Western Armenia after slight changes of the French policy. On May 27th, after General Dro withdrew from Karabagh, “Karabagh declared the Sovietization of Karabagh”14. The loss of Karabagh had weakened Armenia. During the last government of Armenia; “on December 1 Armenian Khorhrdaran voted in favor of sovietization”15 going against the political party of the Dashnaktsutiun. On December 2nd, Armenia was acknowledged as a “socialist soviet republic.”

1.9 Grave of General Drastamat Kanayan, Armenia

Under the rule of Stalin, Armenian’s had a major position within helping their allies in war. Many Armenians were perished under the command of Stalin. Another threat upon the Armenians during the Stalin rule, was the Armenian church. Payaslian explains: “Communist ideology, in the tradition of orthodox Marxism, viewed religion as the “opium of the masses” and sought to eradicate all religious influences on Armenian education, culture, and language”16. Many churches were highly taxed, eventually priests were exiled and churches were converted to other community attractions. After the death of Stalin, Nikita Kruschev became Soviet Union’s new leader. Armenia under the rule of Krushchev started to improve; churches were reestablished as well as memorials for the Armenian Genocide. During this time, Armenians wanted to unite Armenia, “in June 1965 thirteen Armenian intellectuals submitted a petition to Moscow calling for the unification of Karabagh with Armenia” but both “Moscow and Erevan refused to enter negotiations on the matter, and in 1968 violent clashes took place between Armenians and Azerbaijanis in Stepanakert”17. In 1990, Armenian voted the release of the Soviet Union.

When Armenia was recognized as an official independent country after the fall of Soviet Union in 1991, the first Armenian president became Levon Ter Petrosyan. At this time, tension and war also broke out between Azerbaijan and the Armenian who were settled in Karabagh. Nagarno-Karabagh is today an independent country but is not officially recognized as one. The population consists of 95% Armenians. However, Azerbajian and Armenia conflict to this day is not over. Armenia’s close relationship with the diasporan Armenians motivated Ter Petrosyan to create stable relationship with diasporan Armenians, especially those of the United States. The relations with the diaspora helped economically improve Armenia. The Armenian diaspora has created many organizations in order to bring together Armenians from around the world as well as to unite them with the Hairenik. Today, Turkey and Armenia still contain closed borders with one another. However, in 2009, President Serge Sargsyan (current) wanted to sign protocols insisting to open borders with Turkey and establishing diplomatic relations, it would also benefit Armenia’s poor economy. However, Arme-

1.10 Soviet Armenia’s flag

1.11 Poster of Soviet Armenia 15

nians and diasporan Armenians from around the world protested to not create any diplomatic relations with Turkey. The reasoning many Armenians gave to this was because they did not want any relationship with a government and country who to this day denies the Armenian Genocide that their ancestors have committed. Not until the Armenian Genocide is properly recognized by the Turkish government, the two countries will maintain closed borders. Shortly after, Sargsyan suspended the protocols18. The Armenian people have lived through powerful kingdoms yet always remained humble. Through many

wars, genocides and other tragedies they reconstructed to better themselves. Through their history, Armenians have been influenced to be the culture and the tiny nation that they have today. To the Armenian people, the small strip of land that that they refer to as Hairenik contains a powerful symbolism than the entire world. It represents the wars that have been fought and lost, the torments and struggles they came across in the hands of other empires but yet no matter what they go through they still stand as an independent group of people. Even outside of Armenia, diasporan Armenians have created communities to bring together their culture and pass down their traditions. Armenians from early on, throughout the Byzantium Empire, up to today have used their culture to influence their traditions and art.

1.12 Armenians protesting against Serge Sargsyanâ&#x20AC;&#x2122;s protocols with the Turkish government.

CHAPTER TWO PRE-CHRISTIAN

and

CHRISTIAN ART

During the ninth to sixth centuries BC, the kingdom of Urartu created various forms of art. The Armenians of the time had created many types citadels, temples, irrigation canals, carved stone seals, glass, ceramics, and jewelry. However, the Kingdom of Urartu maintained a major focus in bronze objects as well as silver and gold. Vases, medallions, and amulets were made of silver. Jewelry were made of gold19. The Hellenistic era was followed by the death of Alexander the Great and it was the expansion of Greek influence20. During the Hellenistic civilization, many cultures including Armenians were Hellenized. During the first century B.C., Armenians built a temple dedicated to a heathen god. It became known as Hellenistic temple of Garni. Greek style sculptures were also being influenced by the Armenians of the Hellenistic civilization. One created with marble known as the Venus of Artashat. The temple of Garni is the only standing Hellenistic temple. The temple was created for the Pagan sun god, Mithra. The temple is significant because it gives influences on early Christian church architecture but the church remains significantly different. St. Gregory believed that the church should take new form to represent the new faith Armenians had adopted. Architects built a rounded yet vertical cupola. The elongated form of the cupola helps symbolize the concept of reaching heaven.

2.2 Temple of Garni. Garni, Kotayk, Armenia

2.1 The Monastery of Tatev. Tatev village, Syunik Province, Armenia

In 301 AD, Armenia became the first nation to adopt Christianity. With it, Armenian iconography and architecture grew marking some of Armenia’s greatest forms of historical art. Future Armenian artists were highly influenced of their country’s illuminations, art and architecture. The significance of the architecture transformed to Armenia’s “ruins”. Today, the city of Ani now located in Van, Turkey was known as the city of 1001 churches. Future artists to come incorporated Armenian architecture due to the significance on the culture and on them. Monasteries were more than worship centers. They were equipped with education; teachings of arts, literature and science. Armenian monasteries were built in isolated mountainous areas. When looking at these monasteries, they appear as if they are growing within nature. Some were even carved and built from within boulders. Armenian Christian temples’ shapes were influenced by the Ararat mountains, resembling a triangle. Monastery builders and architects use trimmed stone. The temples usually had unadorned walls, leaving frescos to be rare.

In 406 AD Mesrop Mashtots established the Armenian alphabet which expanded the Armenian culture further more. The Mesropian alphabet has had no alterations and remains the original 36 letters21. The myth goes that Mashtots was having difficulty composing the written language when he turned to prayer. The letters appeared to Mashtots in a vision that was believed to have come to him by God—expanding of the Armenians praise of Christianity. Mashtots took it upon his duty that with the sacred letters he would translate and spread the Words of God. With the alphabet, manuscripts were produced. Mesrop Mashtots continued building schools to teach children and adults the new written language and the teachings of God. Since reading and writing was a privilege to nobility or clergymen, the public enjoyed viewing iconography22.

2.4 Armenian Alphabet

2.3 Statue of Saint Mesrop Mashtots, founder of the Armenian alphabet. The Matenadaran Institute of Ancient Manuscripts in Yerevan, Armenia.

Iconography was an easy way to communicate from the teaching of Gods depicted through images on various amounts of mediums. Maximillien de Lafayette explains that the iconography describes the Armenian culture with the subjects of, “traditions, beliefs, folklore, mythology, occult, metaphysics, astrology, astronomy, church-populace interaction and so many other facets that shaped the way of life of Armenians, and cemented the characteristics and ethnicity of Armenia as an nation, as a Christian state and as a center for culture, arts and religion”23. Iconography was a sort of propaganda at the time; it was to promote a cause with telling stories of the teachings of Christ. De Lafayette describes it as, “world’s first flyers and brochures”24.

2.5 Armenian Iconography on ancient Armenian rug depicting Apostles and Saints around Jesus Christ, circa 1,686. , Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Volume I, Maximillien de Lafayette

In the 10th century, monasteries viewed as artistic centers. Many books were created that enclosed illuminated manuscripts within. Most Armenian manuscripts that were hand-crafted were signed by the artists creating uniqueness to it since no artists from its surrounding Muslim culture were allowed to sign their names. The oriental style that many are familiar with today has Armenian origins. It was established within Armenian monasteries created by Armenian monks. Monks only studied within their monasteries, they did not have any foreign influences. Their illustrations were not comprehensive rather flat and simple. For villagers and peasants who could not afford these manuscripts had a different form of manuscript that was more realistic of their humanly figures and nature. These less-valued “peasant art” eventually became more valuable for historians for it was depictions of the first classical arts. The Cilician style manuscripts had developed to become rich in vibrant colors. It was influenced by Byzantine art from the western cultures. Armenians now have expanded to study western cultures and their productions of arts. However, it still remained different with its oriental motifs, floral patterns, bird figures and imaginative creatures. Cilician artists painted and focus more on realistic human figures and facial expressions. They also started to illustrate detailed backgrounds the help establish a theme and setting through their manuscripts.

that every khachkar consist of different designs but the same concept. Today in Armenia, or at churches in Armenian communities in the diaspora, khachkars can be seen and are still produced. During the 4th through 7th centuries, the rise of Christianity in Armenia was important to King Trdat. The King ordered any pagan and polytheistic sanctuaries and sculptures to be destroyed. In the 5th century, Armenian monasteries created stele with engraved images of Christianity along with sculpting crosses to be replaced with the old pagan sanctuaries. The first steles contained four sides with a circular orientation; all sides were decorated with engravings telling religious stories. Khachkars were first constructed in the early 9th century AD, Abrahamian describes, “When the khachkar came into existence as a separate stone, it abandoned the circular orientation of the earlier stele monument— with its engravings on all sides—to establish, instead, a vector-like character toward the powerful images carved on only one flat surface of the stone”25. The khachkar holds a deep connection between the viewer (believer) and God because it is viewed at eye-level. It is made out of a soft-local stone that makes it easy to carve and engrave. Most khachkars depict decorative forms of the cross that people worship. The cross is always the focus on the stele.

During the 13th century, manuscripts had a common decorative pattern using birds, floral designs, geometric patterns, organic branches, trees, vines, decorative lines and others including thick colorful margins. These decorative forms are sometimes called “trchnakir” by Armenians. Cilician style was more abounding than Byzantine arts. Unlike Byzantine art, it was elegant, decorative but not over-bearing. Armenian artists worked with stone, wood, metal, lace, textiles, fabrics, linens, clothes and many others but the church respected paintings therefore they blessed paintings to be hung as decorative pieces within the church. Khachkars are large forms of stone that have detailed forms and crosses carved on it. They are a memorial stone, as well as stones to mark the completion of churches, villages, and victories. Monasteries were also where many khachkars were constructed. It is known 20

2.6 Khatchkar

CHAPTER THREE ARMENIAN

FOLK ART

During the 16th century, Armenia was divided between Turkish and Persian empires thus causing the Armenian kingdom to fall. Armenia lost its independence along with its arts. Architecture and its related arts no longer were being made. Everyday labors, occupations, and everyday became a part of the Armenian arts in this era. The Armenian craftsmanship in rug weaving, lacemaking, and other crafts were inspired by Armeniaâ&#x20AC;&#x2122;s previous traditions in the arts. The common mediums that were used evolved from bronze during the Urartu era, stone for architecture and khachkars during the 10th century, to wood, clay, metal and fabrics for common use.

3.2 Ambar (grain bin), 64 inches long by 54 inches deep by 72 inches high. Village pf Artabuynk, 1913. Photo by Sam Sweezy.

Wood

3.1 Reading stand, 54 inches by 13 inches, from Ani made by Master Avetik, Son of Arut, in the 1270s, with a lion image appearing to replicate the lion in the coat of arms of Ani. State Museum of the History of Armenia. Photo by Zaven Khachikan 21

Wood was often used to create cabinetry, wagons, reading-stands, cradles and many other furniture pieces, which all consisted decorative Armenian patterns. Some of the largest wood objects that were produced were ambar, used to store grain. The typical wood bin was shaped in a rectangular form. Inside it had shelf-like divisions. The grain would be loaded up with each section of the divided shelves. The bins contained sliding doors that were carved and decorated. The decorative carving look like the forms that were decorated petrogylphs from the Bronze Age or tombstones during the medieval era. A superstitious tradition was established about the grain-bin that when it is full it represents a prosperous life. Many people of the time never allowed their bin to get completely empty, or they would refill it before it was emptied. The superstitious continued with the dovlat, which was a spirit that had various forms such as human and animal. If the bin was full the kind spirit would maintain in the home to keep the family from harm26.

Clay Clay has always been a part of civilization. In Middle Eastern mythologies, God sculpted humans from clay. With this concept, Armenians who have made pottery out of clay would name the clays structure with human body parts. For example, a pot would have a foot, belly, neck, mouth, arms and ears. The dĂŠcor of pottery during the 9-13th century were adorned with faces, birds, twigs, lions and other forms. Often they were painted on topped with the glaze and repeated onto plates, goblets and others. Usually these design elements were adopted by the Ottoman rulers and what they would have as their table settings27. By the 18th century, Armenian Christian symbols and patters were often painted on. By the 19th century, the ceramics were discontinued in production. Armenian potters were not focused on producing tonirs for Armenian villagers. Tonirs were elongated kilns that were mostly used for baking bread. Churn pottery were produced to help make butter. To protect their superstitious beliefs of the evil-eye, many of these churn potteries would have amulets on their ropes28. Other clay jars such as the vessel that resembles women, wine jugs and others were often produced. By the 20th century, Armenians were known for their superb pottery making.

3.3 Armenian clay tonir (Armenian cooking kelm). Kessab, Syria

3.4 Armenian crafted ceramics

Rugs and Carpets Armenian rugs and carpets are known as beautifully woven decorative pieces. The first carpet fragments were discovered in burial sites, several centuries after Greek and Roman historians such as Herodotus, Xenaphon, Srabo and Tacitus mention Armenian rug weaving in their writings29. Armenian weaving of rugs became highly known in the Middle Ages throughout Near East and Europe. Western Europe was introduced to Armenian rugs by Crusaders that were returned back to Europe. Western Europeans shun light towards the Armenian rugs when more were high in demand. Many fine Italian homes had Armenian rugs. Italian artists such as Giotto incorporated Armenian rugs in their paintings. Other Dutch artists like Hans Memling, Hans Holbein, Jan van Eyck and more also had the Armenian rugs within their artwork. Armenian rugs were also known outside of Europe. They were also noticed by Arabs from the Near and Middle East. Many Arab historians mentioned Armenian rugs and their mastering of weaving in their writings. Armenian rugs from medieval period and the 19th century helped historians develop and understand the motifs Armenians used in their weaving30.

There are many Armenian rugs from the 19th century that proves it to be traditional Armenian home pieces. However, these exceptional rugs were not for floors. Floors typically were covered in carpets that were made of sheep or goatâ&#x20AC;&#x2122;s wool. Better quality carpets and rugs would cover ottomans and walls. A familyâ&#x20AC;&#x2122;s most valuable and treasured rugs would often be stored away and only be brought out during fine and special occasions such as weddings. Beginning at a young age most young female villagers were taught how to weave rugs. The young girl would follow directions and weave as she is being instructed to tie knots by certain colors. In the 19th century, it was one of the most common occupations for Armenian31. During the Ottoman Empire domination, it was one of the only ways left for Armenians villagers to practice their arts.

3.6 Armenian Kazak rug

3.5 Armenian Shirvan rug 23

Needle Art In a strict environment, where women had no voice and remained unheard found a way to express themselves with needlework. Needlework within lace was a way a woman can help maintain a living for herself and her family. During the genocide, Armenian women used lace making as a defense mechanism. Many who left the villages of Aintap created a new settlement in Eastern Armenia also naming it Aintap. During this settlement, the particular style of lace making took a name for itself as Aintap. Aintap, was an sewing technique that women made tablecloths, bed linens, curtains, towels, lingerie, collars, and handkerchief32. Armenian lace looks like a decorative spider web. It can be done by any kind of thread, but mostly produced with white colors. Different Armenian regions have different patterns, techniques and colors. During the Armenian genocide, older women tend to pull threads from their clothing in order to teach younger generations their family patterns33. 3.7 Hand-crafted lace

3.8 Hand-crafted lace 24

Costume Armenian costumes from the middle ages are unique time period dressings that have been put together from influences through other cultures; such as a king maintaining his style influenced from close by cultures. Arshakuni dynasty kings wore clothes that resembled Parthian Persian court. Bagratuni dynasty kings often dressed in turbans influenced by Arab sovereigns. During the Mongol domination, Armenian rulers wore sable coats influenced by the Mongols34.

3.9 Armenian costumes throughout the regions

Armenian clothes widely appeared in the Middle Ages through iconography of biblical figures. Rather than the figures being dressed in clothes worn in Levant, the figures would appear to be wearing traditional Armenian garments. Armenian costumes, both dailywear and special-wear, during the 19th and early 20th century are the costumes discovered by scholars. Like many traditional costumes then and now, the difference between high and low quality were the cloth materials. The elite wore costumes to create a more noticeable distinction between them and the lower class. Womenâ&#x20AC;&#x2122;s costumes at the time were designed in a specific manner, to obscure her sexuality yet accentuate her abilities to reproduce and nourish35. A womanâ&#x20AC;&#x2122;s costume would only reveal her hands and face, but at times her hands would be covered by the pointed edge of her sleeve. Typically, Armenian women who lived in a Islamic society would abide by their traditions and wear costumes that would fully cover her face36. 3.10 Armenian costumes 25

There was a noticeable difference between Armenian costumes from Western regions compared to Eastern regions. A woman from the West would have a luxurious, large, decorative apron that she would wear over her dress. A woman from the East did not wear aprons, but wore a simple face-cover to conceal her mouth. The color of the cloth that was used to conceal the mouth area was worn by all Eastern Armenian women but women of a young age would wear a white cloth, while women who are widowed would wear a black cloth37. Armenian women living in Yerevan and Tbilisi would wear a long silk ribbon that she would tie around her waist and it would drape down to her feet38. An Armenian manâ&#x20AC;&#x2122;s clothing during this time period was also influenced by the region he resided in. Men of the East would wear a cotton shirt, wool jacket and a fur cap. In the West, Armenian men wore ornately embellished jackets that were made out of cloth or lambskin. Along with it, they would typically wear a felt cap; wrapped around the cap would be a bandana. In mountainous areas, like Sassoun, men wore wool cloth trousers along with a wool belt and short jacket39.

3.11 Armenian costumes from the Western region

3.12 Armenian costumes from the Eastern region 26

CHAPTER FOUR

MODERN ARMENIAN ART

The spread of Armenians after the genocide evolved the Armenian arts. The Armenians in the diasporas craved to be a part of Armenia but yet lived in lands far away. Artists took traditional Armenian concepts and influences from their new settlements and embraced their emotions and painful memories. European ideas helped Armenians develop their endowment of creating masterpieces. Yet, Armenians brought new aspects and ideals to the non-Armenian cultures. For example, the Armenian artist Arshile Gorky is known to be one of the first artists to bring over surreal and abstract ideas to America. As time went on, the Armenian artwork expanded in its concepts, styles themes40. Many Armenians artists of the 19th century from the diasporas remained in contact with Armenia while some settled back to the motherland. Armenians felt that through their artwork, they can keep a dying culture alive; their artwork would revive the Armenian heritage. During the 19th century, European art critics and galleries began to notice the Armenian artists who were residing in the European lands. Artists started to hold remarkable art shows at galleries that caught Europeans and audiences abroad. During the 20th century, Armenians started to take a patriotic identity upon them; more than ever before they felt very devoted to their culture. During World War II, Armenian artists contributed tremendously by creating a various propaganda posters, cartoons using more than artwork but typography. By the 1950s, the art styles introduced the avant-garde movement. Unfamiliar ways of artwork were being more experimented by artists including Armenian artists all across Europe and Indo-European countries41.

4.1 Map of populations of Armenians in various countries 28

The Hovnatanian family is known as the introducers to modern painting to the Armenian culture. They were a family full of artists from Shorot village in Nakhichevan. They are five generations of artists (17th-19th century), but the favorite son was Hakop Hovnatanian. When talking about Hakop Hovnatanian, many refer to the entire family. Hakop had learned his artistic abilities through his father. Generation after generation the talent is passed down. The family illustrated many cathedrals and mostly known for their portraiture paintings of noble, upper-class Armenian families. Maximillien de Lafayette writes about the Hovnatanian family as he introduces the modern era. He writes about naghash Hovnatan being the patriarch of the family and describes the roles. “The illustrious Hovnatanian family was under the auspies of Naghash Hovnatan (1661-1722), the venerated and well-known poet, illustrator and painter… While his grandson Hovnatan Hovnatanian (1730-1801) was in charge of the immense panel paintings of Etchmiadzin, Hakob Hovnatanian, his son was responsible for pioneering and perfecting the art of portraiture”42. Mktum Hovnatanian, Hakob Hovnatanian’s father, taught him how to paint. He was born in Tiflis in the 19th century, which had developed to become a key area for the Armenian arts. Hakob Hovnatanian had developed a very distinctive style. De Lafayette explains, “He concentrated his attention on the shape and contour of the face, the eyes and the hands, the inner feelings and sentiments of his model”43. Hovnatanian depicted his clients in a quasi-triangular form, which furthered his style in colors, shading and lighting to relate to Italian realism.

4.2 Hakob Hovnatanian Portrait of young Akimyan

4.3 Portrait of Hakob Hovnatanian 29

4.4 Hakob Hovnatanian, Portrait of Catholics Nerses Ashtaraktsi 30

Realism During the 19th century, people had passion for science and explanations for reality. In the visual arts, realism is the accuracy of the subjects that artists chose to paint. It was escaping the imagination and painting reality. Realism art was the standard art that the academic arts approved of rather than romantic and imaginative ideas. Contemporary realists want to portray daily lives and ordinary people. They accurately reproduce daily objects that ordinary people would ignore. Kevork Bashinjaghyan (1857-1923) was influenced by landscapes of those in Georgia, where he grew up. He studied art at Academy of Fine Arts in St. Petersburg. Bashinjaghyan was a nationalist who adored Armenia. He painted various amounts of paintings of Mount Ararat, Lake Sevan and other known Armenian landscapes. He had well connections with Armenian bourgeoisie. He also had passions for writing and has produced many novels, articles and other forms of writing44.

4.5 Kevork Bashingjaghyan, Highlands of Armenia, Road to Dilijan, 1895

4.6 Kevork Bashinjaghyan, Woodland Path, 1894 31

Vartkes Soureniants (1860-1921) graduated as an architect and artist from The Artistic Academy in Munich. He founded the Armenian historical painting Movement. Soureniants was one of the first Armenian artists who applied the Armenian history, traditions and culture in his paintings. In his paintng, Profanation of Shrine, Soureniants depicts an Armenian monastery with manuscripts on the floor. Above the second floor of the monastery, he has painted khachkars. In the painting, Semiramis Before the Body of Ara, 1876, Soureniants paints the story of the Armenian king, Ara, who refused to love the Assyrian Empireâ&#x20AC;&#x2122;s Queen Semiramis. In the painting, Araâ&#x20AC;&#x2122;s body lays in front of the Assyrian queen, as she glares at the body in anger. Through this painting, Soureniants shows how Ara is the symbol of Armeniaâ&#x20AC;&#x2122;s immortal culture will to go on45. 4.7 Vartkes Soureniants, Salome, 1907

Sumbat Der Kiureghian (1913-1999) was bron in Isfahan, Iran. He mastered the artistry of watercolor in his artwork. He had many influences from Iran as well as outside Iran. He cherished western and eastern arts and had a passion for his Armenian culture. He often painted scenes and experiences from the daily life. As a realist, painting with watercolor could be challenging but using the watercolor added certain spontaneity to his artwork. Der Kiureghian depicted many landscape scenes of villages in Iran and Armenia by incorporating exquisite watercolors to bring together all the elements of his paintings. Other mediums of paints that he used were gouache, oil paintings but mostly found his focus in watercolor. The landscape and every-day life paintings that he depicted took notice and required him to travel to Armenia, England, France, Lebanon, Saudi Arabia and Switzerland. In 1980, Der Kiureghian moved to the United States and lived there for the rest of his life46.

4.8 Sumbat Der Kyureghian, Saghmosavank, Armenia. Watercolor 40x60 cm, 1992 32

Hagop Hagopian (1923- ) was born in Egypt, years after the Armenian genocide. Hagopian never witnessed the genocide but the awareness of what his people had gone through constantly stayed within him. The pain he felt for the genocide affected his artwork. Hagopian attended Melkonian Armenian School in Cyprus then moved to Paris to study at the Grande Chaumiere Academy. In 1963, Hagopian moved to Armenia where, he struggled to fit in. Eventually, he grew to love his motherland. He was taken in by Armeniaâ&#x20AC;&#x2122;s sadness; the landscapes held tense emotions, the melancholy people, along with the lonely feeling spread across the country. He applied the depressed empty emotions within his art work. His style was unique; it captured the fragile influences of Armenian culture well within his artwork47.

4.9 Hagop Hagopian, Saghmosavank

4.10 Hagop Hagopian, Dreaming Oil 33

Neo -Realism Neo-Realism was a movement that originated from realism but flourished after World War II. Neo-realism was mostly established in 1920’s during the uprising of social problems, inspired by fascist domination, its resistance and the war48. Many Armenian artists studied the arts in foreign lands, most studied in Paris at the Julian Academy. During the 19th century, France had a spotlight on realism. At this time, French artist such as Gustave Coubert were slowly transforming realism fascinations in art to romantic ideals. Armenian artists were highly influenced by Coubert and applied his influences into their artwork49.

4.11 The Desperate Man, Gustave Coubert Self-Portrait 1844-45. Oil on canvas. 17 3/4 x 21 5/8 in. (45 x 55 cm)

Edgar Chahine (1874-1947) was an Armenian artist born in 1874 in Vienna, Austria but grew up in Constantinople, what is now modern Istanbul, Turkey. In Venice he studied art at the Armenian art school of Murad Rafaelian. He then continued in making intaglio prints at Academie Julian in Paris. Chahine continued print making by mixing media for effects. He worked by mixing etching, dry-pointing and aquatint. Edmond Sagot and Eugene Delâtre helped him develop his style in printmaking with specializing in line-art. His subjects were mostly bourgeois, precisely elegant women of higher societies. In 1900 he had his first exhibit, which led him to exhibit his works in major European cities. He also took a fascination in landscapes and seascapes along with his series of streets of Venice. The artist is cherished but yet his work is rare due to both fire and flood in the artist’s studio. Edgar Chahine’s unique approach of mixing mediums in printmaking influenced artists to come, especially in the field of graphic design.

4.12 Edgar Chahine, Melle, Drypoint / Etching

Romanticism In the early 19th century romanticism started to appear through the visual arts. Unlike realism, romanticism highlights spiritual emotions of the artwork expressed through the artist. Many romantic paintings bring in a nostalgic feeling to the viewer and the artist. The techniques the artist used were to bring in human emotions within objects, such as using objects to symbolize a certain sentimental connection. For many artists, to capture the sentimental nostalgia they let nature and landscapes be their muse50.

4.13 Ivan Aivazovsky,The Ninth Wave, Oil on canvas, 221 cm x 8 m 43.28 cm, 1850.

Ivan Aivazovsky (1817-1900) was born into an Armenian merchant family in Feodosia, Crimea. Aivazovksy had a poor childhood, but had a particular talent that people that surrounded him noticed. With the help of these people, he enrolled Simpheropol gymnasium, then the St. Petersburg Academy of Arts. He took a high fascination in his landscape courses. After taking a marine landscape course, his work was admired and was entered in the Academic exhibition. The artist chose to return home to perfect his talents by painting local coasts of Crimea. Around 1840-1844, Aivazovsky traveled through Italy, Germany, France, Spain and Holland commissioned by the Academy of Arts. He painted many of his masterpieces in Italy. Including one of the most recognizable paintings, “The Bay of Napoli by Moonlight”, 1842.

4.14 Ivan Aivazovsky, Storm on Northern Sea, oil. 276 cm (108 5/8”) x 202 cm (79 1/2”) 1865

A method Aivazovsky developed was to depict scenes from memory. Maximillien de Lafayette describes Aivazovsky’s method quite remarkable, “he reconstructed the whole sceries from memory, including the movements of the waves, the structural design of ships, the shape of the shores, the motion of the ocean, the lights of the harbors, the silhouette of the sailors, fishermen and maritime personages from his own imagination”51.

He accomplished all this without drawing preliminary sketches, strictly though memory. In 1844, when he returned to St. Petersburg, he was awarded title of “Academian” by the government. The award was only given to masters of a particular field. De Lafayette describes that the Russian government soon made him, ““attaché” of to the General Naval Headquarters. This was perfect for him, for this position would allow him to travel abroad with the Russian fleet”52. With the fleet, he visited the United States, Egypt, Cyrpus, Greece and Turkey. Thus, many of artwork from 1846-1848 was based off of military naval warfare. Some of his artworks from this time were: The Battle in the Chios Channel (1848), The Battle of Chesme (1848) and Meeting of the Brig Mercury (1848). During the 1850’s, Aivazovsky’s work developed to have many romantic features. It can be seen in his paintings, The Ninth Wave (1850), Moonlit Night (1849) and many others53. 4.15 The Portrait of Ivan Aivazovsky, by Aleksey Tyranov, 1847

4.16 Ivan Aivazovsky, Battle of Vyborg Bay, oil on canvas. Russia 1846. 36

4.17 Ivan Aivazovsky, Ship in the Stormy Sea, oil on canvas 63cm x 97cm. 1887 37

Impressionism In the 19th century, impressionism art movement took over the arts in Europe particularly in France. It was a movement that let artists be more expressive. Techniques that impressionist painters used were to paint reality by being more expressive through light effects, color and brush stroke54. Martiros Saryan (1880-1972) was born in NovyNakhichevan. Martiros Saryan was mostly known for his deep love for his country. He obsessed over thoughts about his country, its surviving people and culture. Many times, Saryan had the chance to leave Armenia to move to United States but he refused to leave his true love. In most of his work they share a common theme: Armenia. The country had become his muse. Saryan expressed his thoughts about Armenia when he said, “My intention is to picture the visible survival of our small country after its tragic epic soaked in blood and purified in faith. This piece of land on the slopes of Mount Ararat I look upon as the source of our hope”55. Saryan broke away from traditional trends. He highly believed experimenting in new forms and styles was the key of establishing an individual, unique style. In 1901, he created a series of paintings that specialized in symbolism. He left behind any

foreign influences such as Russian, Anatolian and French and focused on bringing in only Armenian influences. By 1909, Saryan was inspired by Armenia’s ancient sights and every day life. He especially was infatuated by Armenia’s nature. A symbol that he incorporated within his artwork was light; it stood for Christianity, which plays a major role in Armenian history. Saryan highly believed in the impressionist movement. He established a group with his fellow French impressionists such as Monet, Matisse, Gauguin and others who had also inspired him. The group was called “the Blue Rose group.” At the time, the academy did not accept impressionism as a serious form of art. With the rejection of impressionistic artwork, it was hard for impressionist artists exhibit their works in galleries. Saryan kept faith in the movement and did not change his style in order to gain respect from the academy and critics56.

4.18 Martiros Saryan, Charm of the Sun, Tempera on cardboard 18.5 x 31.5. The Stavropoulos Regional Museum of Fine Arts 38

Hovsep Pushman (1877-1966) was born in Armenia. Pushman went to the Constantinople Academy of Art with a scholarship. By the age of 17, he moved and settled in Chicago teaching art. He then moved to Paris to apprentice for Lefebvre, Robert Fleury and Dechenaud. In 1914, during his exhibition at the Salon des Artistes Francais in Paris, he won bronze medal. In 1921, he won the silver. In 1921, Pushman opened his own studio where he developed a distinctive style focusing on creating still lives based off of oriental objects. Those objects were idols, pottery and or glassware. The lighting within his arts were gloomy, dark and candle light. To explain his paintings, Pushman often wrote descriptions or readings that went along with the artwork. During his one-man show in 1932 in New York, Pushmanâ&#x20AC;&#x2122;s entire 16 painting collection was sold all on the opening-day of the show. In 1966 he died in New York57.

4.19 Hovsep Pushman, The Reading Lesson (Mother and Daughter), oil on canvas, 28 3/4 in x 23 1/2 in

4.20 Hovsep PushmanRayons de Soleil, oil on canvas, 29 1/2in x 37in. Estate of Hovsep Pushman

GueorguÏ Yakoulov (1884-1928) was born in Tiflis. He attended the Moscow School of Painting, Sculpture and Architecture. During his military service, Yakulov was posted in northeast China. He was inspired by the Eastern decorative light within art. When he returned to Moscow he exhibited with the Blue Rose groups. He also exhibited with Union of Russian Artists, Moscow Associate of Artists and Mir Iskusstya. He expanded to other major cities such as Paris and Berlin. In 1910, he traveled through Italy then settled in Paris where he befriended Sonia Delaunay and Robert Delaunay. Yakulov and the Delaunays shared ideas of light and theories. His paintings kept the softness of water-colour and Asian influences. Soon, Yukalov took part in the debates of Futurism and he became a member of the Leftist federation of Painters after the Revolution of 191758. In 1918, Yakulov’s set-design career began with designing for Aleksandr Tairov’s Obmen. In 1928, Yakulov died in Yerevan, Armenia. 4.21 Portrait of artist, GueorguÏ Yakoulov,

4.22 GueorguÏ Yakoulov, Monte Carlo, 1913

Expressionism In the 19th and early 20th century, Expressionism rejected academic standards as it became the style of various artists. Expressionism focuses on the artist’s emotions rather than how things appear to be. Subjects that are painted by expressionists can take any form and disregard accurate proportions. Colors and lines were distinctive and exaggerated. Applications of the paint were applied in various ways, some harsh and violent, depending on what he artists felt to express in that moment. Artists wanted to arouse the canvas with their stories and their emotions towards those stories59. Armenian artists contained a variety of different emotions. Common emotions were sadness and anger of all the tragedies their people had to face.

4.23 Gerardo Orakian, Genocide, oil on paper, 15 x 20 inches (38 x 51 cm)

Gerardo Orakian (1901-1963) was born in Constantinople, he attended Getronakan Armenian School. Before moving to Italy in 1920, he went to France. In Italy he graduated from the Academy of Fine Arts. He lived and worked a struggling, poor life. He developed a style of painting that used high contrasting colors and lights. He painted people in daily situations. The people within his paintings embrace one-another’s presence just as he embraced but longed for Armenia’s presence. Orakian had several one-man exhibitions in 1947 and in 1958, which got many people’s attention. Many Armenian artists looked up to Orakian’s originality and kept his work. In 1963, Orakian died in poverty. Today he is respected and known to have one of the most unique styles within the Armenian arts60.

4.24 Gerardo Orakian, Drinking Wine, oil on paper, 14.75 x 19.75 inches (37.5 x 50 cm)

Jean Carzou (1907-2000) was born in Aleppo, Syria. He moved to Paris to pursue the arts. In 1925, Carzou graduated from Paris School of Architecture. He gained attention of critics after his 1939 one-man show. Throughout his career, he has been acknowledges and has received plentiful prizes for his art. In 1956, the president of France gave Carzou the highest honor medal in the country, “La Legion d’Honneur”. He received the Hallmark Price three times in 1949, 1952 and 195561. As well as many other prizes. Carzou was grateful for France’s generosity towards him, his art and other fellow Armenian artists. In return, Carzou embraced the Parisian lifestyle within his paintings to show his appreciation62.

4.25 Jean Carzou, Woman in Landscape, color lithography on vellum d’Arches paper, 71 x 51 cm (paper) 42 x 54 cm (image)

4..26 Jean Carzou, Lithograph original, 55 x 76 cm (paper) 49 x 67 (image). 1991

4.27 Jean Carzou, Vestales, oil on canvas 25.5 x 32 inches. 1976

4.28 Jean Carzou, Woman with Necklace, gouache, pastel, ink on beige paper, 55.5 x 46.5 cm. 1954 43

Harutyun Galentz (1908-1967) was born in Kyurin, Ottoman Turkey. Galentz was a survivor of the Armenian genocide. Galentzâ&#x20AC;&#x2122;s father was killed during the genocide, when his mother, brothers and he made to the Syrian deserts, his mother died of starvation. Galentz and his brothers stayed in an orphanage in Aleppo, where Galentz began to express himself through art. Even though Galentz had a struggling life full of sadness and hardship, his spirit and passion in life never died out. In many ways, Galentz created a certain utopia in his artwork by nourishing his paintings with thick brush strokes of vibrant colors. In 1946 Galentz moved to Armenia and continued his work until his death in 1967. Galentzâ&#x20AC;&#x2122;s house is currently a museum in Armenia63.

4.29 Harutyun Galentz self portrait

4.30 Harutyun Galentz Autumn on the ank of the Hrazdan River, 1960 44

Jean Jansem (Jan-Hovaness Semerdjian) (1920- ) was born in Seuleuze. Jansem lived in Salonika, Greece but did not begin painting until he moved to France at the age of 11. While in Paris, Jansem attended Montparnasse. In 1938, he graduated from the school of Arts Dératifs. In 1939, he exhibited his first painting at the Salon de Indépendants. Jansem lost his father when he was young; it created a sorrow influence within his expressive artwork. During his trips to Greece, Spain, Italy and France he was also inspired by their cultures and daily-lives which expanded his creativity further more. He kept to himself and was a quiet man but let his paintings express his emotions. His exquisite work contains painful thoughts with soft colors and lines64.

4.31 Jean Jansem, Lydia de dos dans l’Atelier, lithograph, 76 x 56 cm

4.32 Jean Jansem, Tribunal Pour Cotillons, oil on canvas, 130 x 162 cm. 1980 45

Minas Avetissian (1928-1975) was born in Djadjur, Armenia. Avetissian studied at the Institute of Theatre and Art in Yerevan then at the Repin Institute of Painting, Sculpture and Architecture. Influenced by other Armenian artists, he created his own style. His work contains rich colors that leave a deep Armenian connection. Minas Avetissian did not have a pleasant life. It was full of tragedies. In 1972, a fire in his studio destroyed many of his works. In 1975, he died in a automobile accident. Later, his home was established to a museum in his hometown, but the earthquake of 1988 destroyed parts his home museum65 66 4.33 Minas Avetissian, Le Village de Djadjour, 1960

4.34 Minas Avetissian, Paysage avec des Khatchkars (Croix de pierre)

4.35 Minas Avetissian, Fin dâ&#x20AC;&#x2122;Automne, 1973

Abstract andSurrealism Surrealism is the movement that took over Europe between World War I and World War II. Surrealism evolved from the Dada movement. Surrealism is based off the irrational, imagination, and emotion. André Breton, published “The Surrealist Manifesto” in 1924, describes what surrealism is, ‘Surrealism was a means of reuniting conscious and unconscious realms of experience so completely that the world of dream and fantasy would be joined to the everyday rational world in “an absolute reality, a surreality’”67. Surrealism broke the mold from reality, it brought in a different realm of artistic expression. Abstract art is a movement of art that does not depict any real or figurative image. It does not focus on any figures, it does not contain an object or subject. It is strictly free form of color and movement.

4.37 Ervand Kochar, The Woman with a Key oil on canvas. 1930

Ervand Kochar (1899-1979), was born in Tiflis. He attended Schmerling art school at the Petr Konchalovksy’s studio. By 1923, Kochar moved to Paris where his art took notice. During the peak of his career, he moved to Armenia. While working in Armenia he received awards and recognitions such as: Honored Artist of Armenia (1956), People’s Artist of Armenia (1965), State Prize recipient (1967), Soviet Order of Red Banner (1971) and People’s Artist of the Soviet Union (1976). Kochar’s painting and sculptures has many Armenian influences. His sculptures David of Sassoun, 1959, and Vardan Mamikonian, 1975, were both heroic figures of Armenian history. Today the statues watch over Yerevan, just as they did when the heroes protected the Armenian kingdom. In Echmiadzin, Kochar has sculpted Komitas, 1969. Komitas Vartabed was an Armenian priest, composer, writer and singer who had survived the Armenian genocide but was put in a mental institution in France due to psychological issues from witnessing Armenian massacres, Komitas died in the hospital. Nonetheless, Komitas represents the Armenian intellectuals both whom have died and survived the Armenian genocide68.

4.36 Ervand Kochar, Exctazy, oil on canvas. 1960 47

4.38 Ervand Kochar, The Disaster of War, oil on canvas. 1962

4.39 Ervand Kochar, Family - Generations, oil on canvas. 1925

Gregorio Sciltian (1900-1985) was born in Rostov. Sciltian had a passion to become a painter. In 1919, he left the Soviet Union and lived in Vienna, Berlin, Paris, Milan, Venice and eventually settled in Rome. His artwork has influences from cubists, Van Eyck and Brueghel. He brought a sense of surrealism within his artwork of realistic depictions of every day objects. Today his artwork can be seen through out museums in many major cities such as New York, London and more. Gregorio Sciltian died at the age of 8469.

4.41 Gregorio Sciltian, Microcosmo

4.40 Gregorio Sciltian, Pagine di Storia 49

One of the greatest Armenian artists told stories throughout his paintings of life and suffering. Around 1902, a boy was born in Khorkom, an Armenian province in Ottoman Turkey. Vosdanig Adoian (Arshile Gorky) was a teenage boy when he witnessed Ottoman Turkey cleanse out the Armenian population, which became to be known as the Armenian Genocide. Armenians were forced to death marches towards the Syrian deserts on poor conditions. Many were brutally tortured and murdered, others were left to starve. Gorky’s mother was one of those who starved to death in December 1918. His mother’s death and the impact of the Armenian genocide played a major role in what Gorky would paint. In 1920 Gorky and his sister Vartanoosh immigrated to United States and lived in New England, here he changed his name to Arshile Gorky after Maxim Gorky70. In 1924 Arshile Gorky moved to New York and started attending National Academy of Design and the Grand Central School of Art. Gorky was an inspired artist who was self-taught and wanted to further his education and passion in the arts. Gorky was inspired by European avant-garde artists such as Paul Cézanne, Pablo Picasso, Kadinksy, and Joan Miró. Eventually, Gorky became mostly known as the first artist to introduce abstract expressionism and surrealism to America. In the late 1930s and early 1940s Gorky was noticed and was contacted by the Surrealist group. Gorky’s developing style influenced by Armenian folk art and culture differentiated his style that stood out to many, such as the Surrealist group.

4.42 Portrait of Arshile Gorky

4.43 Arshile Gorky, Blue Figure in Chair, oil on canvas, 48 x 38 inches. 1931. The National Gallery of Art, Washington, DC 50

Gorky painted two versions of a photograph he had kept of him and his mother before the Armenian genocide. It came to be his most known pieces. The Artist and His Mother (1936) derived from an old photograph that Gorky had cherished. The painting consists of his influence from Picasso, yet brings Gorky’s work of art to a whole new level. Many questions remains unanswered to the viewer as the see this painting; one may think, why are his mothers hands smudged, but yet her facial expression is so clear? Gorky’s attachment to his mother and this painting was depicted in the film, Ararat, directed by Atom Egoyan released in 2002.

4.46 The Artist and His Mother, oil on canvas, 60 x 50 inches. c. 1926-1942. National Gallery of Art, DC.

4.44 Original photograp taken of Gorky and his mother

4.47 The Artist and His Mother, oil on canvas, 60 x 50 inches. c. 1926-1936. Whitney Museum of American Art, New York. 4.45 The Artist’s Mother, charcoal on ivory laid paper, 24 13/16 x 19 1/8 in. 1926 or 1936. The Art Institute of Chicago 51

Gorky’s life was full of tragedies. Around 1940 a fire occurred in his Studio in New York which destroyed many of his artworks followed by undergoing an operation for rectal cancer, following an automobile accident, and marital issues71. His life was scarred by all the tragedies starting from the Armenian genocide that led Gorky to commit suicide in 1948. Throughout time, Armenians along with many others cherish Gorky and his work. He holds beautiful forms of expression carried through the passion he had within him about his faded and broken culture. A beloved quote of Gorky describes his art and can be applied to his fellow Armenian artists: “My recollections of Armenia open new visions for me. My art is therefore a growth art where forms, pines, shapes, memories of Armenia germinate, breathe, expand and contract, multiply and thereby create new paths for exploration” -Arshile Gorky 72.

4.48 Arshile Gorky, Waterfall, 1943, oil on canvas, 60 1/2 x 44 1/2 inches, Tate Modern, London, purchased with assistance from the Friends of the Tate Gallery,

4.49 Arshile Gorky, Betrothal I, 1947, oil on paper, 51 x 40 inches The Museum of Contemporary Art, Los Angeles

Leon Tutundjian (1905-1968) was born in Amasia, Turkey. The Armenian genocide left Tutundjian an orphan. He studied at Constantinople’s School of Fine Arts until he was sent to a Greek orphanage. Before settling in Paris he went to Venice. He is highly expressive through his surreal art. In 1923, Tutundjian moved to Paris where he explored a variety of styles. He depicted geometric abstraction, tachism, and concrete-art until 1933 where he focused on surrealism. Tutundjian was not open about his past and what he went through. However, through his artwork an understanding of Tutundjian’s agitated mind influenced his artwork73.

4.51 Leon Tutundjian, Vision Lunaire, oil on canvas, 112 x 145 cm. 1935.

4.50 Arthur Pinajian, No. 4634- Untitled (Overlook Mountain, Woodstock, oil on canvas, 13 x 17. 1959

Arthur Pinajian (1914-1999) came from a family of Armenian genocide survivors. He was raised in New Jersey. In the 1930s, Pinajian started his career being a cartoonist. Shortly after World War II, Pinajian broke away from commercial art to focus strictly on painting by attending the Art Students League in New York. He soon settled to New York to begin his art career. Pinajian focused his arts in abstract expressionism, however his work did not become known much after his death. The style Pinajian had created for himself was very unique and had elements of abstract expressionism, impressionism, expressionism, fauvism, cubism, surrealism74. His work was not known until the New York Times published “Closing on a House, and a Life’s Story, Told in Art” in 2007. After Pinajian’s death, the buyer of his cottage wanted to preserve the artworks within the cottage. Today Pinajian’s work is viewed as a various art movements formed into one unique style with bright and beautiful color palettes75.

Other Visual Artists Sergei Parajanov (1924-1990) was born in Tiflis (Tbilisi), Georgia. He came from a family of artists and had an appreciation and hunger for arts starting from a young age. In 1945, Parajanov started to attend the Gerasimov Institute of Cinematography in Moscow. In 1948, Parajanov was arrested and imprisoned for homosexual acts. In 1950, Parajanov married, his wife was brutally murdered when her family discovered her conversion to Christianity from Islam. Parajanov was devastated and moved to Ukraine. As he lived in Ukraine he created documentaries then eventually remarried and had a son.

In 1964, Parajanov began experimenting with poetic-artistic film when he directed Shadows of Forgotten Ancestors, it was well respected by Soviet authorities and won many awards. After the creation of the film, Parajanov left Ukraine to settle in Armenia where he created the film Sayat Nova, a film about the legendary Armenian musician, writer and poet named Sayat Nova. It was one of the best films Parajanov has created even though it was made with a tight budget. Soviet censors banned the film due to its inappropriate content. Parajanov re-edited the film and changed the name to The Color of Pomegranates. It became his best work; he revolutionized the artistic film field.

4.53 A scene from Parajanovâ&#x20AC;&#x2122;s Shadows of Forgotten Ancestors

4.52 Photography of Sergei Parajanov

In 1973, Parajanov was arrested under the charges of rape. After he was arrested Andrei Tarkovsky, Yves Saint Laurent, Françoise Sagan, Jean-Luc Godard and many other artists and filmmakers protested against the arrestment of a genius artist. Parajanov’s five year sentence was cut to four years when he was released. During his time in prison, he sculpted various amounts of miniature dolls. He also drew and created collages. These and his other artwork are displayed at the Parajanov Museum in Yerevan. In 1982, Parajanov was again arrested on charges of bribery. During his imprisonment his health weakened. Shortly after his release, he continued his work in cinema with the film Legend of Suram Fortress. On July 20th 1990, Parajanov died of cancer in Armenia leaving his last film, The Confession incomplete76. 4.54 Photo of Parajanov’s Legend of Suram Fortress

4.55 Parajanov’s Color of Pomegranates

4.57 Parajanov’s Color of Pomegranates

4.56 Parajanov’s Color of Pomegranates 55

Yousuf (Hovsep) Karsh (1908-2002) was born in Mardin, Ottoman Turkey. He grew up during the Armenian genocide and witnessed his relatives and fellow Armenians get massacred. His sister died of starvation and he and his family finally made it to Syria. His parents sent Yousuf to move to Canada and live with his photographer uncle. His uncle saw Karshâ&#x20AC;&#x2122;s potential and sent him to Boston, Massachusetts to apprentice under John Garo. When Karsh returned to Canada, he made his studio in Chateau Laurier Hotel in Ottawa, Ontario. Karshâ&#x20AC;&#x2122;s work caught the eye of Canadian Prime Minister who hired Karsh to photograph public figures. On December 30, 1941, Karsh took a photo what will be his most known photograph of Winston Churchill after his speech at the Canadian House of Commons77.

4.59 Karsh Photography, Winston Churchill, 1941

4.58 A photograph of a young Yousuf Karsh

Karsh’s photography concentrated in portraits. He focused on lighting and took the opportunity to get a perfect moment to take the perfect portrait of his subject. In Karsh Portfolio, he wrote “Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.” Karsh has photographs of famous people from all kinds of fields, such as: Muhammed Ali, Audrey Hepburn, John F. Kennedy, Gandhi, Grace Kelly, Pope John Paul II, Fidel Castro, Pablo Picasso, Princess Elizabeth, Andy Warhol and many others. However, Karsh’s favorite photograph remained the one he took of Winston Churchill78.

4.60 Karsh Photography, Grace Kelly, 1956

4.61 Karsh Photography, Pablo Picasso, 1954 57

4.62 Karsh Photography, Audrey Hepburn, 1956

4.63 Karsh Photography, Albert Einstein, 1948

4.64 Karsh Photography, Jacqueline Kennedy, 1957

4.65 Karsh Photography, Ernest Hemingway, 1957

CHAPTER FIVE TODAYâ&#x20AC;&#x2122;S ARMENIAN

ARTISTS

Today, Armenian artists are prospering through out Armenia and outside of Armenia. These artists are establishing and experimenting with various amounts of methods and styles within their artwork. Many who have made a name for themselves for their unique artistry such as; Minas Halaj, Ani Ishkhanian, Kristina Nazarevskaia, Ana Bagayan, Sevan Naccashian, Darzoo, Lucie Abdalian, Vahé Berberian Malachi Simonyan, Ruben Malayan, Roger Kupelian and many more. Dro “Darzoo” Arzoian was born into an Armenian family in Germany. Shortly, he and his family moved to Iran where he focused on his artistic talents. Many took notice of Darzoo’s talents, including Alik an Armenian newspaper published in Iran. He was hired by Alik for illustrations and layout design. By the time Darzoo started to attend a University, he was always being recognized and receiving awards for Best Illustrator in the Country. His skills and recognitions caught the eyes of an animation and cartoon company, Saba that hired Darzoo. While working for Saba, he won the company competitions from Korea, Italy, Turkey and Iran. In the 1990’s, Darzoo was hired by Iranian Ministries to design for them. Before leaving Iran, Darzoo created a work of a map of Armenia, Turkey and Iran made out of bronze, glass, wood and light fixtures. The map was seen as a masterpiece and was permamently displayed at the VANK museum in Iran. Darzoo moved to the United State and established Artzoman Design. Today his artwork is seen through out several art galleries nationally and internationally79.

5.1 Darzoo, Sweet fire, 48 x 48, acrylic on canvas 60

Atom Egoyan (1960- ) was born in Egypt. In 1962, he and his family moved to British Columbia, Canada. Growing up, Atom wanted to fit in within the Canadian community and rebel against his father by rejecting his Armenian culture. As a young adult, his views and interests grew about his culture leading him to study Armenian history at the University of Toronto. Egoyan always maintained a keen eye for films. His fascination with directing and producing grew. He directed many films, television episodes and short films. He directed the film Exotica (1994), which gained him many recognition and attentions. In 2002, Egoyan created the film, Ararat. It was the story of his favorite artist, Arshile Gorky and the struggle of the Armenian genocide. It was the second major motion picture film created about the Armenian genocide, after the critically acclaimed French film Mayrig (1991) by Henri Veneuil. One of his most recent films, Chloe (2009) featuring Julianne Moore, Amanda Seyfried and Liam Neeson. Egoyan has received many film awards some include, four awards at the Cannes Film Festival, four at the Toronto Internation Film Festival, and the Master of Cinema Award of the International Filmfestival Mannhein-Heidelberg. Today, Egoyan resides in Toronto with his actress wife, Arsinee Khanjian and their child, Arshile, named after his favorite artist80.

5.2 Film Poster, Chloe, directed by Atom Egoyan 2009

5.3 Scene from Chloe, directed by Atom Egoyan 2009. Julianne Moore as Catherine Stewart (right), and Amanda Seyfried as Chloe(left)

5.4 Film Poster, Ararat, directed by Atom Egoyan 2002

5.5 Scene from Ararat, directed by Atom Egoyan 2002. Simon Abkarian as Arshile Gorky 61

Ruben Malayan is an Armenian artist, photography and art-director. He has influenced Armenian and other cultures with his talented works of design. Malayan graduated with a degree for painting from Terlemezian Art College. He then studied graphic arts at State Institute of Fine Arts in Yerevan, Armenia. Malayan has found a connection and appreciation for Armenian calligraphy. Influenced by the powerful Armenian history and its unique calligraphy, Malayan produces modern yet traditional Armenian calligraphy. While working with calligraphy, Malayan has been constructing a book, The Art of Armenian Calligraphy ( L’Art Calligraphique Armènien). His book focuses on traditional Armenian calligraphy and how it has evolved. Today, Ruben continues to flourish the design and art field with exhibitions and various amounts of graphic design works81.

5.6 Ruben Malayan, Bolor’gir Alphabet, calligraphy

5.7 Ruben Malayan, The Mirror, acrylic on canvas, 70 x 900 cm

VahĂŠ Berberian, is an Armenian artist who was born in Beirut, Lebanon. He is known by Armenians as more than just an artist but a comedian, playwright, author and actor. No doubt he has significantly influenced Armenian arts. In 1973, Berberian left Lebanon as he traveled through Eastern and Western Europe. When he returned back to Beirut, the Lebanese civil war was in occurrence. In 1976, Berberian moved to Los Angeles where he studied and graduated in journalism. VahĂŠ Berberian is a well-known, kind-hearted, respected Armenian artist. I was honored to be able to contact VahĂŠ Berberian for an interview. Berberian kindly agreed to contribute his honest answers82.

5.8 Vahe Berberian, acrylic on canvas, 60 x 72, 2008

5.9 Photograph of Vahe Berberian, interview by Gayane Haroutyunyan, photos by Lika Brutyan, Yerevan magazine, Fall 2008 issue

Interview with Vahe Berberian Q: You are more than just a painter or comedian, but a playwright, author, director and actor. All around you are the complete artist package. Have you ever felt that there are more than just these categories of art that you want to approach but never had the time to pursue? A: Yes, definitely. I consider myself a frustrated musician. I used to play the guitar in my teens, but I was never really good at it. I played mainly to accompany my singing. Eventually I realized that as a musician I was never going to rise above mediocrity, so I stopped. Last year, I was supposed to play the role of an oud player in a movie, and in order to familiarize myself with the instrument, I started playing the oud. Now I am in love with it and I play it every day, just for my own enjoyment. Q: Can you ever say in between all your art works, playwrights, writings, etc. there is a common theme that they all share? A: Of course the obvious common theme is me. Whatever touches or inspires me at that specific moment of creation, is what comes out of me. In general, what preoccupy me are topics like alienation, search for identity, both personal and national, the human condition, love, justice, friendship, posterity and family dynamics. Q: In 1973, when you traveled throughout Europe, did it influence your passions within the arts further more? Why? A: Certainly. We were part of the counterculture and we were in a mind set that through different forms of expression we could change the world. How do you attempt to do that? If youâ&#x20AC;&#x2122;re an artist, you do it through your art. I think thatâ&#x20AC;&#x2122;s why in those years, whatever I created was very idealistic, didactic and generic. It took years for me to realize that the more specifics you go into, the more universal your art becomes. Q: When you returned home to Lebanon, the civil war had broken out. How did the devastation and tragedies impact your artwork? A: The scar of the civil war is still there and I donâ&#x20AC;&#x2122;t think it will ever disappear. We were young, we were fragile and we had just opened our hearts to the world, when we witnessed all that destruction, so it was inevitable that we would be damaged, and yet, it took

5.10 Photograph of Vahe Berberian

me a while to able to digest the whole experience and somehow sublimate it. The first direct result of the devastation manifested itself in Pink Elephant, then in Quicksand. After mid 80’s, almost everything I created was somehow related to my experiences of war, because once you’ve lived though a war, everything else seems trivial. Q: When you moved to Los Angeles, you graduated with a degree in journalism. But when I met you, you had mentioned that you were first in graphic design. What made you change your mind about design? A: I never took school seriously. I studied whatever subject I was interested in. I was studying commercial art, but I lost my interest in it because the whole idea behind it was creating false needs and constantly producing consumers.

5.11 Vahe Berberian, Untitled, acrylic on paper, 30 x 23 inches

5.12 Vahe Berberian, Paregam, acrylic on canvas, 48 x 72 inches

Q: From the time you were a young child in Beirut, to Europe, creating a home in Los Angeles, and traveling around the world how can you compare your style when you first began pursuing the arts to what you have evolved your style to be like today? A: No doubt, all those cultures that I have been exposed to had their influence on me as an artist. I was always searching for a place I can call home. I was born in Beirut, lived in Europe, off and on, then became a Canadian landed immigrant, and a year later ended up in Los Angeles, where I have been living the past 36 year. My historic background comes from Armenia, and yet as a western Armenian, my cultural make up comes from Istanbul. As you can see, there are many influences coexisting in me and I try to create some sort of harmony between them. Of course all the moving around is synchronized with my aging, so it’s very difficult to pinpoint what comes from where. I have seen my art evolve from figurative to abstract, and fade into minimalism. When you’re a young painter, you are in love with colors, with the process of painting itself, and you feel like you have to constantly impress. But with age, the need to impress, and the chaos of colors gives way to simplicity. Now, when I paint, sometimes figures emerge, but eventually they disappear under layers and layers of paint.

Q: You have many fans and followers, how does it feel each time when you are on stage knowing that they are all there for you? A: It gets scary sometimes. There are all these wonderful, intelligent, energetic young men and women who look up to you and take everything you say to heart. You feel responsible. They want advice, and as much as you try to give them sound advice, you want to make sure that ultimately it will be their decision, and not yours. You want to make sure that they realize that sometimes you’re as clueless about certain things as they are. I love the fact that I am always surrounded by young energy, however, I have to constantly remind myself that I have as much to learn from them as they do from me. Q: Would you say it is a humbling experience in what you have achieved on and off stage? A: I think the word humbling has been overused, or rather misused the past decade, to the point were it might hide a certain self aggrandizement. I would say it has been a learning and self discovering experience, and ultimately rewarding.

Q: How has the Armenian culture influence you in your artwork? A: The Armenian culture has had a profound influence on my artwork. That influence might not be evident at a first glance, but its there. Aside from the use of Armenian letters and some iconography, the old manuscripts have always fascinated me. Also, the fact that I use layer over layer, over layer in order to create a history, is very Armenian. The walls in Yerevan are full of colorful patchworks, graffiti style writing and doodling and the warmth of the colors always manage to find their way in my works. Q: Do you think you have influenced the Armenian culture? A: I hope so. It’s virtually impossible to talk about this without losing my humility, but I would like to believe that I have brought a certain edge, a kind of audaciousness - may be boldness is a better word – with my work, in almost everything that I have done. On a very personal level I am especially grateful for the fact that my art, my existence, seem to have kindled a connection in the youth towards their Armenian identity.

Q: You describe your work as storytelling. When it comes to your paintings, would you say that the storytelling is being told by you the artist or by the viewer? A: That’s a beautiful question. I like that. It gets fascinating when both the artist and the viewer are telling their side of the same story. I truly believe that the essence of all art is the narrative. Q: You have had many art shows, two published books, acted, and have toured for shows. Can you say you have achieved all your goals in life? As time goes by and you achieve these things, do you set out new goals for yourself? A: I hope I have not achieved all my goals, because I’m not ready to die. Not yet. I never make long term plans. As I finished whatever I am working on, I am already thinking about the next one, always hoping that I will top myself. I love to take on new challenges, but no matter what I do, I can not stop writing and painting. I think eventually I will end up directing a feature. That’s what I feel like doing these days. I have written a dozen scripts but never felt the urge to direct. But now I have a story that I would love to produce in the form of a feature. 5.13 Poster of the play Gyank, written and directed by Vahe Berberian 66

Ani Ishkhanian (1985- ) was born in Montréal, Canada, who moved to Los Angeles California at an early age with her family. She attended Holy Martyrs Ferrahian private Armenian school from preschool to senior year. She had a heart for the arts and pursued it by getting her bachelors degree in Graphic Design and Illustration from California State University, Northridge. Ishkhanian brings a modern twist to Armenian art culture. Along with her influences of street art, photography, music of various kinds, films and Armenian arts itself, she has created a unique modern style of painting. The young artist agreed to hold an interview about her experiences, influences and art.

Interview with Ani Ishkhanian Q: How was your childhood in Montréal differing from when you moved to Los Angeles? A: Well, the family and I moved to Los Angeles very early on, I think I was two or three years old. I was raised in Los Angeles, I can only imagine how different it could have been if we stayed in Montreal a bit longer. Maybe colder themed paintings… Q: Have you returned to Montréal since you moved away? A: Yes, several times for weddings, christenings or just vacation. I love it there; it’s a gorgeous city – especially Québec. Sometimes I wonder that if I stayed there I would have been a completely different artist, painted completely different things. The environment and lifestyle in Montréal is completely different from LA life. Q: When did you begin expressing yourself through art? A: I don’t quite remember, it had to be when I was maybe 4 or 5 years old. I found those “how-to” drawing books lying around one day and I would sit down with my little sketchbook and copy the little animated deer and other animals from the book. When I would finish, I would show my parents and they wouldn’t believe that I didn’t trace it. It gave me such confidence at a young age, knowing that I was able to do something well. I kept drawing and that led to painting. It felt almost as if something I loved that I had as my own just fell into my lap. It was awesome. Q: Has the Canadian environment inspire your artwork in sort of way? A: I’m not sure; we left there when I was very young, but maybe from my other visits when I was older. I think any type of environment you put yourself in or are put into will definitely inspire you somehow. It all changes your perspective and psyche, whether it’s a big or small/ good or bad change.

5.14 Ani Ishkhanian, Apollo Blue, mixed media, 18 x 24 inches

Q: While going to Armenian school, were you particularly inspired by Armenian arts? A: Definitely. I wish I could have had more of an education in the arts when I went to high school. My school barely had any art classes, and if they did it would be a very rare occurrence and would deal more with 67

technique and how to draw versus the history of art and artists. My art teacher from high school quit because he was starting up his own business teaching art at his studio. I decided to follow wherever he went so I went to his studio every week to further and enhance my skills. I think he was the instructor who practically saved me. When I would hear his feedback on any of my pieces I would start thinking more openly about art. We would discuss music; he would play an assortment of artists each week - Pink Floyd, Uriah Heep, Led Zeppelin, The Beatles, Komitas. He is an amazing person and I still go to him from time to time to show him my sketches or finished paintings. He’s been that one art constant, if you will, in my life. Q: When you graduated in 2003, did you know that art was what you wanted to pursue? A: No, but I knew that I wanted to do something creative. I was undecided for a little while and went into theatre. After about two years I realized that I loved art more and didn’t want to pursue a career in acting. I changed my major to graphic design and illustration and never looked back.

Q: How was your school experience like in California State University, Northridge? A: As I started taking art classes I realized how much I didn’t know about the art world. There were so many illustrators and fine artists that it became my new reference point. I became a sponge. I would try to learn as much as I could about this world that just opened up ten-fold. It was very intimidating, but that is when I truly started opening up to the craft, new ways of thinking, and new approaches. Q: While studying arts at CSUN, was there a particular field that you wanted to pursue the most? A: I took so many different art classes at CSUN, anything that would catch my interest I would look into. The fields that I go back and forth on as the top choice are painting and photography. Personally, those two always match up to what I want to achieve most. In painting, I love the manipulation and control and flexibility in the paint. In photography, I love the science behind every aspect. I can never pick just one; I’m always the type who has all these interests and hobbies. It’s too nerve-wracking and constraining for me to pick just one.

5.15 Photograph of the artist, Ani Ishkhanian 68

Q: How has majoring in graphic design expanded your knowledge in the arts? A: The great thing about graphic design is that it is a very research-heavy field. Constantly looking into whatever you are designing and researching about design puts you so into that mindset that you start seeing design and art wherever you go, and that’s how you know that you’ve learned and are learning new things. Q: You have been a participant in several art shows, most recently the Hamazakayin Cultural Nights Persents: Armenian Art Exhibition. How has this art exhibit brought you closer to fellow Armenian artists and their works? A: The great thing about this Armenian event was that it completely immersed me socially in the best way, through art. I’m not a huge fan of crowds or big events but if it comes down to getting people together through art or some type of creative purpose, I’m all for it. Having work exhibited with other Armenian artists made me experience other points of view and styles of art. It’s fun for me to see different works from other young artists that come from a similar cultural background.

5.16 Pantomime, mixed media, 20 x 24 inches.

Q: How has the Armenian culture influenced your artwork? A: In terms of how I go about a painting (choosing color, subject, type of paint, setting, etc.), I’m really not sure. I believe it’s so innate that it just comes out in flavors here and there. As for inspiration, I definitely have a couple of Armenian artists that I constantly review. Every time I look at a painting by Gorky or Kochar I notice something that I hadn’t before. The Armenian culture is so rich in this craft, there’s always something you’ve missed the first time around. Q: Do you think you have influenced the Armenian culture? A: I know my talents and abilities, but I think I haven’t accomplished enough through my art in order to influence someone else. Then again, maybe I have and I don’t know it. Who knows?

5.17 Cigarette, mixed media, 14 x 18 inches

CONCLUSION

to ARMENIAN ART HISTORY

We have walked through the battle fields of the Armenian kingdom, we have sat alongside the Armenian women who handcrafted beautiful patterns of lace, we have watched the waves of the oceans collide with Aivazovsky, we have been killed, starved and walked to the Syrian deserts, we have painted with nostalgic patterns and shapes, we have traveled to America with Gorky, and we have sat through conversations with Berberian. We have survived. Armenian is an ancient culture that has been through many series of unfortunate events but nevertheless it has managed to be able to get right back up on its feet and continue to walk. Armenian culture has survived through their artwork; if it was not for these stories being told through the arts, the culture would have died long ago. American-Armenian author, William Saroyan once said, “I should like to see any power of the world destroy this race, this small tribe of unimportant people, whose wars have all been fought and lost, whose structures have crumbled, literature is unread, music is unheard, and prayers are no more answered. Go ahead, destroy Armenia. See if you can do it. Send them into the desert without bread and water. Burn their homes and churches. Then see if they will not laugh, sing and pray again. For when two of them meet anywhere in the world, see if they will not create a new Armenia. –William Saryoan”83. I agree with Saroyan’s quote because these artists have created a new Armenia through their artwork. They have suffered but without their suffering they would have never produced the unique artwork that they are now known for that has influenced other cultures world-wide. With all these artists I have written about, I can see the impact that they have created within the art world. Karsh took the biggest names in pop-culture and took their photographs, and now he is known as “the Armenian photographer.” He gave graphic designers and artists today the ability to capture beautiful portraits through their designs and arts. In graphic design Ruben Malayan and Malachi Simonyan are well-known designers who have taken their Armenian heritage and implied it to their artwork. The Armenian history is kept alive through stories written and told, art, architecture, monuments and sculptures, and many other forms of art. Like many forms of art, Armenian art has transformed in many ways but yet has kept consistency on its roots and heritage. Even though Armenia has fought and lost many battles, been tortured and traumatized they continue to survive and to tell their stories. Through time Armenian artists have felt a separation anxiety towards their culture. In order for the culture to be kept alive, Armenian artists have been able to produce work hat influence and continue to impact within all art history with tragic yet blissful architecture, paintings, textiles and other art forms.

END NOTE S

1. Redgate, A. E. The Armenians. Oxford, UK: Blackwell, 1999. Print. 10 2. Payaslian, Simon. The History of Armenia: from the Origins to the Present. New York: Palgrave Macmillan, 2007. Print. 10 3. Ibid. 10 4. Redgate, A. E. The Armenians. Oxford, UK: Blackwell, 1999. Print. 11 5. Ibid. 12 6. Ibid. 12 7. Ibid. 12 8. Ibid.12 9. AkcĚ§am, Taner. A Shameful Act: the Armenian Genocide and the Question of Turkish Responsibility. New York: Metropolitan, 2006. Print. 13 10. Ibid. 13 11. Payaslian, Simon. The History of Armenia: from the Origins to the Present. New York: Palgrave Macmillan, 2007. Print.14 12. Ibid. 14 13. Ibid. 14 14. Ibid. 14 15. Ibid. 14 16. Ibid. 15 17. Ibid. 15 74

18. “Historic Step: Armenia-Turkey Protocols Signed; Await Ratification.” Armenianow.com. 10 Oct. 2009. Web. <http://www.armenianow.com/news/10628/historic_step_armeniaturkey_proto>. 16 19. “Armenia Tourism.” Armenian History. Web. <http://www.tourismarmenia.net/about-armenia/history>. 18 20. “The Hellenistic Period.” Ancient Greek Thesaurus. Web. <http://www.greek-thesaurus.gr/hellenistic- period.html>. 18

21. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 19

22. Abrahamian, Levon, and Nancy Sweezy. Armenian Folk Arts, Culture, and Identity. Bloomington: Indiana UP, 2001. Print. 19 23. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 19

24. Ibid. 19 25. Abrahamian, Levon, and Nancy Sweezy. Armenian Folk Arts, Culture, and Identity. Bloomington: Indiana UP, 2001. Print. 20 26. Ibid. 21 27. Ibid. 22 28. Ibid. 22 29. Ibid. 23 30. Ibid. 23 31. Ibid. 23 32. Ibid. 24 33. Ibid. 24 34. Ibid. 25

35. Ibid. 25 36. Ibid. 25 37. Ibid. 26 38. Ibid. 26 39. Ibid. 26

40. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 28 41. Ibid. 28 42. Ibid. 29 43. Ibid. 29

44. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 31 45. Ibid. 32 46. Sumbat Der Kiureghian. Web. <http://www.sumbat.com/index2.html>. 32

47. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 33 48. “Neorealism: Information from Answers.com.” Answers.com: Wiki Q&A Combined with Free Online Dictionary, Thesaurus, and Encyclopedias. Web. <http://www.answers.com/topic/neorealism-lit-in- encyclopedia>. 34 49. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 34 50. “Romanticism: Romanticism in the Visual Arts — Infoplease.com.” Infoplease: Encyclopedia, Almanac, Atlas, Biographies, Dictionary, Thesaurus. Web. <http://www.infoplease.com/ce6/ent/A0860799.html>. 35 76

51. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 35

52. Ibid. 36 53. Ibid. 36 54. “Impressionism.” Department of Electrical Engineering and Computer Science. Web. <http://www.cs.ucf.edu/~MidLink/Impress.html>. 38 55. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 38

56. Ibid. 38 57. FADA Fine Art Dealers Association. Web. <http://www.fada.com/browse_by_artist.html?gallery_ no=22&artist=3727&bio=1>. 39 58. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 40

59. ”Expressionism - Expressionism Art.” Oil Paintings Reproduction - Canvas Oil Painting Reproductions For Sale. Web. <http://www.huntfor.com/arthistory/C20th/expressionism.htm>. 41 60. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 42

61. “Jean Carzou Biography.” Stephanie’s Gallery. Web. <http://www.stephaniesartgallery.com/html/jean_ carzou_biography.html>. 42 62. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 42

63. Ibid. 44

64. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 45

65. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 46 66. The Legacy Project. Web. <http://www.legacy-project.org/index.php?artistID=26>. 46

67. “WebMuseum: Surrealism.” Ibiblio - The Public’s Library and Digital Archive. Web. <http://ibiblio.org/ wm/paint/glo/surrealism>. 47

68. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 47

69. “Gregorio Sciltian, Russian Painter - Sun Sentinel.” Featured Articles From The Sun Sentinel. 02 Apr. 1985. Web. <http://articles.sun-sentinel.com/1985-04-02/news/8501120256_1_russian-born-paint er-flemish-painters-van-eyck>. 49 70. “Gorky’s Life.” The Arshile Gorky Foundation. Web. <http://arshilegorkyfoundation.org/gorkys-life>. 50 71. Ibid. 52 72. “The Art Story: Artist - Arshile Gorky.” The Art Story: Modern Art Movements, Artists, Ideas and Topics. Web. <http://www.theartstory.org/artist-gorky-arshile.htm>. 52

73. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 53 74. “Arthur Pinajian Biography.” Arthur Pinajian Official Website. Web. <http://www.pinajianart.com/ biography.htm>. 53

75. De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 55 76. “Sergei Paradjanov: Retrospective for a Visionary | Film | The Arts Desk.” Updated Daily with Arts Reviews| The Arts Desk. <http://www.theartsdesk.com/film/sergei-paradjanov-retrospective-visionary>. 55 78

77. “Yousuf Karsh.” UC Davis Particle Theory: Terning. Web. <http://particle.physics.ucdavis.edu/ bios/Karsh.html>. 56 78. Yousuf Karsh / Photographer. Web. <http://www.karsh.org/>. 57 79. “Darzoo - About Me.” Dro Arzooian. Web. <http://www.darzoo.com/Profile/about.html>. 60 80. ”Atom Egoyan - Professor of Film - Biography.” The European Graduate School - Media and Communication - Graduate & Postgraduate Studies Program. Web. <http://egs.edu/faculty/atom-egoyan/biography>. 61 81. Malayan, Ruben. “Ruben Malayan | The Art of Armenian Calligraphy | L’Art Calligraphique Armènien Ruben Malayan / 15levels.com / Creative Portfolio 2011. Web. <http://www.15levels.com/art/ armeniancalligraphy/>. 62

82. “Learn.” Vahe Berberian. Web. <http://vaheberberian.com/learn/>. 63 83. “Saroyan.” Blank. Web. <http://armenianmuseumfresno.org/Saroyan.html>. 71

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3. “The Art Story: Artist - Arshile Gorky.” The Art Story: Modern Art Movements, Artists, Ideas and Topics. Web. 11 Dec. 2011. <http://www.theartstory.org/artist-gorky-arshile.htm>. 4. “Art-cadre © Jean Carzou Salvador Dali Leon Danchin Leonor Fini Jean Michel Folon.” Art Cadre Salvador DALI Leonor FINI Jean-Michel FOLON Leon DANCHIN Rene MAGRITTE. Web. 9 Dec. 2011. <http://www.art-cadre.com/ac_artist_list.php?=SID>. 5. “Arthur Pinajian Biography.” Arthur Pinajian Official Website. Web. 9 Dec. 2011. <http://www.pinaji anart.com/biography.htm>. 6. “Atom Egoyan - Professor of Film - Biography.” The European Graduate School - Media and Communication - Graduate & Postgraduate Studies Program. Web. 12 Dec. 2011. <http://egs.edu/faculty/atom-egoyan/biography>. 7. “Darzoo - About Me.” Dro Arzooian. Web. 12 Dec. 2011. <http://www.darzoo.com/Profile/about. html>. 8. “Expressionism - Expressionism Art.” Oil Paintings Reproduction - Canvas Oil Painting Reproductions For Sale. Web. 10 Dec. 2011. <http://www.huntfor.com/arthistory/C20th/expressionism.htm>. 9. FADA Fine Art Dealers Association. Web. 10 Dec. 2011. <http 10. “Gorky’s Life.” The Arshile Gorky Foundation. Web. 10 Dec. 2011. <http://arshilegorkyfoundation.org/ gorkys-life>. 11. “Gregorio Sciltian, Russian Painter - Sun Sentinel.” Featured Articles From The Sun Sentinel. 02 Apr. 1985. Web. 10 Dec. 2011. <http://articles.sun-sentinel.com/1985-04-02/news/8501120256_1_rus sian-born-painter-flemish-painters-van-eyck>. 12. “Harutyun Kalents.” Wikipedia, the Free Encyclopedia. Web. 6 Dec. 2011. <http://en.wikipedia.org/ wiki/Harutyun_Kalents>. 13. “The Hellenistic Period.” Ancient Greek Thesaurus. Web. <http://www.greek-thesaurus.gr/hellenistic period.html>. 14. “Historic Step: Armenia-Turkey Protocols Signed; Await Ratification.” Armenianow.com. 10 Oct. 2009. Web. 10 Dec. 2011. <http://www.armenianow.com/news/10628/historic_step_armeniaturkey_proto>. 15. “Impressionism.” Department of Electrical Engineering and Computer Science. Web. 6 Dec. 2011. <http://www.cs.ucf.edu/~MidLink/Impress.html>. 16. Impressionist Art & Paintings, Introduction to Impressionism. 8 Dec. 2011. <http://www.impressionism.org/>. 81

17. “Jean Carzou Biography.” Stephanie’s Gallery. Web. 10 Dec. 2011. <http://www.stephaniesartgallery.com/ html/jean_carzou_biography.html>. 18. “Jean Jansem - Biography.” RoGallery.com - Online Auctions & Select Artworks Online. Web. 10 Dec. 2011. <http://rogallery.com/Jansem_Jean/Jansem_bio.htm>. 19. “Learn.” Vahe Berberian. Web. 9 Dec. 2011. <http://vaheberberian.com/learn/>. 20. The Legacy Project. Web. 10 Dec. 2011. <http://www.legacy-project.org/index.php?artistID=26>. 21. Malayan, Ruben. “Ruben Malayan | The Art of Armenian Calligraphy | L’Art Calligraphique Armènien” Ruben Malayan / 15levels.com / Creative Portfolio 2011. Web. 10 Dec. 2011. <http://www.15levels.com/art/armeniancalligraphy/>. 22. Minasyan, Smbat. “All about Armen.” “History of Armenia- Armenianhistory.com. Web. 21 Sept. 2011. <http://www.armenian-history.com/HISTORY.htm>. 23. “Neorealism: Information from Answers.com.” Answers.com: Wiki Q&A Combined with Free Online Dictionary, Thesaurus, and Encyclopedias. Web. 8 Dec. 2011. <http://www.answers.com/topic/neoreal ism-lit-in-encyclopedia>. 24. “Romanticism: Romanticism in the Visual Arts — Infoplease.com.” Infoplease: Encyclopedia, Almanac, Atlas, Biographies, Dictionary, Thesaurus. Free Online Reference, Research & Homework Help. — Infoplease.com. Web. 7 Dec. 2011. <http://www.infoplease.com/ce6/ent/A0860799.html>. 25. “Saroyan.” Blank. Web. 12 Dec. 2011. <http://armenianmuseumfresno.org/Saroyan.html>. 26. “Sergei Paradjanov: Retrospective for a Visionary | Film | The Arts Desk.” Updated Daily with Arts Reviews, News & Interviews | The Arts Desk. Web. 11 Dec. 2011. <http://www.theartsdesk.com/film/sergei-parad janov-retrospective-visionary>. 27. Sumbat Der Kiureghian. Web. 8 Dec. 2011. <http://www.sumbat.com/index2.html>. 28. “WebMuseum: Surrealism.” Ibiblio - The Public’s Library and Digital Archive. Web. 8 Dec. 2011. <http:// ibiblio.org/wm/paint/glo/surrealism>. 29. Yousuf Karsh / Photographer. Web. 9 Dec. 2011. <http://www.karsh.org/>. 30. “Yousuf Karsh.” UC Davis Particle Theory: Terning. Web. 10 Dec. 2011. <http://particle.physics.ucdavis. edu/bios/Karsh.html>.

IMAGE REFERENCES

Chapter 1: The History of Armenia 1.1 “Maps of Armenia.” MAPS of ARMENIA. Web. 22 Apr. 2012. <http://www.armenian-history.com/ Maps_of_Armenia.html>. 1.2 Tigranes the Great. <http://upload.wikimedia.org/wikipedia/commons/7/7d/Tigran_the_Great_illus tration.jpg>. 1.3 Gregory the Illuminator <http://en.wikipedia.org/wiki/File:Gregory_Illuminator.JPG>. 1.4 “Leo I, King of Armenia.” Wikipedia. Wikimedia Foundation, 18 Apr. 2012. Web. 22 Apr. 2012. <http:// en.wikipedia.org/wiki/Leo_I,_King_of_Armenia>. 1.5 Wikipedia. Wikimedia Foundation. Web. 22 Apr. 2012. <http://en.wikipedia.org/wiki/File:Cilician_Ar menia-en.svg>. 1.6 Photograph of Massacred Children. <http://robbieraul.files.wordpress.com/2010/04/armenian-geno cide-02-jpg.jpeg>. 1.7 New York Times, Armenian Genocide. <http://www.genocide-museum.am/eng/photos/s1.gif>. 1.8 General Dro. <http://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Dro.jpg/220px-Dro.jpg>. 1.9 General Dro’s Grave. <http://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Dro_grave. JPG/800px-Dro_grave.JPG>. 1.10 Soviet Armenian Flag<http://www.csimokat.com/Misc/SovietPresentation/SovietFlags/jpg/Armenia. jpg>. 1.11Soviet Armenia Poster. <http://s3-eu-west-1.amazonaws.com/lowres-picturecabinet.com/39/ main/6/316727.jpg>. 1.12Protest Against Sargsyan. <http://ianyanmag.com/wp-content/uploads/2009/10/img_1739.jpg>.

Chapter 2: Pre-Christian and Christian Art 2.1 Tatev Monastery. <http:// www.hotels.am/Pics/2B7_Tatev_Monastery_from_a_distance.jpg.> 83

2.2 Temple of Garni. <http://www.sacredsites.com/europe/armenia/images/pagan-temple-gar ni-01-500.jpg>. 2.3 “Armenian Travel Bureau.” Monument Mesrop Mashtots and Koryun. Web. 23 Apr. 2012. <http:// www.atb.am/en/armenia/sights/monuments/MesropMashtots/>. 2.4 “Our Lady of the Assumption - Armenian Catholic Church - Sydney Australia.” Our Lady of the As sumption. Web. 23 Apr. 2012. <http://www.armeniancatholic.org.au/churches.html>. 2.5 “P. 52. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximil lien De Lafayette. The Globe Weekly News.” ARMENIAN ICONOGRAPHY. Web. 23 Apr. 2012. <http://www.globeweeklynews.com/armenian_iconography.htm>. 2.6 “Azad-Hye Middle East Armenian Portal (Khachkar Is Added to UNESCO’s List of Intangible Cultural Heritage of Humanity).” Azad-Hye Middle East Armenian Portal. Web. 23 Apr. 2012. <http://www. azad-hye.net/news/viewnews.asp?newsId=876addg95>.

Chapter 3: Armenian Folk Art 3.1 Abrahamian, Levon, and Nancy Sweezy. Armenian Folk Arts, Culture, and Identity. Bloomington: Indiana UP, 2001. Print 3.2 Abrahamian, Levon, and Nancy Sweezy. Armenian Folk Arts, Culture, and Identity. Bloomington: Indiana UP, 2001. Print 3.3 “Kessabtsiner Kessabi HamaR.” Kessabtsiner Kessabi Hamar. Web. 23 Apr. 2012. <http://kessabtsiner.com/modules.php?op=modload>. 3.4 “Armenian Church, Mount Zion - St. Saviour (the House of Caiaphas).” BibleWalks.com. Web. 23 Apr. 2012. <http://www.biblewalks.com/Sites/ArmenianMountZion.html>. 3.5 “Introduction to Armenian Rugs.” My Private Zangezur. Web. 23 Apr. 2012. <http://zangezur.tripod. com/rugs/armrug.html>. 3.6 “15 Reasons To Visit Armenia.” TravMonkey World Travel. Web. 23 Apr. 2012. <http://www.travmon key.com/15-reasons-visit-armenia-2/>. 3.7 “ALMA-Upcoming Events.” ARMENIAN LIBRARY AND MUSEUM OF AMERICA. Web. 23 Apr. 2012. <http://www.almainc.org/calendar_events_Lace Classes.html>. 3.8 “Armenian Needlelace.” Wikipedia. Wikimedia Foundation, 04 Dec. 2012. Web. 23 Apr. 2012. <http:// en.wikipedia.org/wiki/Armenian_needlelace>. 3.9 Armenian National Costumes. Web. <http://www.gegharddance.am/Armenian%20national%20cos 84

tumes/Armenian%20national%20costumes.html>.

3.10 Armenian National Costumes. Web. <http://www.gegharddance.am/Armenian%20national%20cos tumes/Armenian%20national%20costumes.html>. 3.11 Armenian National Costumes. Web. <http://www.gegharddance.am/Armenian%20national%20cos tumes/Armenian%20national%20costumes.html>. 3.12Armenian National Costumes. Web. <http://www.gegharddance.am/Armenian%20national%20cos tumes/Armenian%20national%20costumes.html>. Chapter 4: Modern Armenian Art 4.1 “Photos: New Year 2011 at the Vank Christian Church in Isfahan - Iran.” Photos: New Year 2011 at the Vank Christian Church in Isfahan Payvand.com. Web. 23 Apr. 2012. <http://payvand.com/blog/ blog/2011/01/02/photos-new-year-2011-at-the-vank-christian-church-in-isfahan-iran/>. 4.2 “Icon Left.” Globe Weekly News. Web. 23 Apr. 2012. <http://globeweeklynews.com/icon_left.htm>. 4.3 ”Hovnatanyan Family.” Wikipedia. Wikimedia Foundation, 28 Mar. 2012. Web. 24 Apr. 2012. <http:// en.wikipedia.org/wiki/Hovnatanyan_family>. 4.4 “Icon Left.” Globe Weekly News. Web. 23 Apr. 2012. <http://globeweeklynews.com/icon_left.htm>. 4.5 “Armenian Painter, Landscape Painter Gevorg Z. Bashinjaghyan (1857-1925).” - ARTinvestment.RU Forum. Web. 23 Apr. 2012. <http://forum.artinvestment.ru/blog.php?b=141735>. 4.6 “Armenian Painter, Landscape Painter Gevorg Z. Bashinjaghyan (1857-1925).” - ARTinvestment.RU Forum. Web. 23 Apr. 2012. <http://forum.artinvestment.ru/blog.php?b=141735>. 4.7 De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 4.8 “Sumbat Der Kiureghian.” Sumbat Der Kiureghian. Web. 23 Apr. 2012. <http://www.sumbat.com/in dex2.html>. 4.9 “Hagop Hagopian.” - Collection. Web. 23 Apr. 2012. <http://www.hagopianart.com/gallery.php?id=1>. 4.10 “Hagop Hagopian.” - Collection. Web. 23 Apr. 2012. <http://www.hagopianart.com/gallery.php?id=1>. 4.11 “Learning Curve on the Ecliptic.” : Arty Farty Friday ~ Gustave Courbet: Enfant Terrible. Web. 23 Apr. 2012. <http://twilightstarsong.blogspot.com/2012/01/arty-farty-friday-gustave-courbet.html>. 85

4.12 “Edgar Chahine.” Stephanie’s Gallery. Web. 24 Apr. 2012. <http://www.stephaniesartgallery.com/ html/edgar_chahine.html>.

4.13 “Ivan Aivazovsky (1817-1900).” Hand Painted Reproductions. Copying Old Master Oil Paintings in Museum. Web. 23 Apr. 2012. <http://www.artsstudio.com/reproductions/aivazovsky.htm>. 4.14 Ship in the Story Sea. Web. <http://commons.wikimedia.org/wiki/File:Ivan_Aivazovsky_-_Ship_in_ the_Stormy_Sea.jpg>. 4.15 “Olga’s Gallery.” Alexey Tyranov. Portrait of the Artist Ivan Aivazovsky. -. Web. 24 Apr. 2012. <http:// www.abcgallery.com/V/venetsianov/tyranov15.html>.

4.16 ”Battle of Vyborg Bay by Ivan Aivazovsky.” Museum Syndicate: Experience Art and History. Web. 23 Apr. 2012. <http://www.museumsyndicate.com/item.php?item=46568>. 4.17 Ship in the Story Sea. Web. <http://commons.wikimedia.org/wiki/File:Ivan_Aivazovsky_-_Ship_in_the_ Stormy_Sea.jpg>. 4.18 Martiros Sarian. Web. <http://www.agniart.ru/eng/item-34173~Art-prints-on-canvas-or paper~Charms-of-the-sun-Art-print-on-canvas---paintings-sale-of-paintings>. 4.19 “Franklin Riehlman Fine Art - Hovsep Pushman.” -Franklin Riehlman Fine Art. Web. 23 Apr. 2012. <http://www.franklinriehlman.com/featured_artists/pushman/pushman_ReadingLesson.shtm>. 4.20 “Hovsep Pushman (1877 - 1966): The Armenian Spirit.” Traditional Fine Arts Organization. Web. 23 Apr. 2012. <http://www.tfaoi.com/newsm1/n1m664.htm>. 4.21 ”BALLETS RUSSES: The Art of Costume -.” Redirecting. Web. 23 Apr. 2012. <http://www.nga.gov.au/ Exhibition/balletsrusses/Default.cfm?MnuID=4>. 4.22 De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 4.23 “GERARDO ORAKIAN.” Stephanie’s Gallery. Web. 23 Apr. 2012. <http://www.stephaniesartgallery. com/html/gerardo_orakian.html

4.24 “Orakian Works.” Stephanie’s Gallery. Web. 23 Apr. 2012. <http://www.stephaniesartgallery.com/ html/orakian_works.html>. 4.25 “JEAN CARZOU Signed Lithograph French.” : Lot 11230. Web. 23 Apr. 2012. <http://www.liveauc tioneers.com/item/6313239>.

4.26 ”Lithographie Jean Carzou : L’inconnue Du Rivage.” Galerie D’art. Web. 23 Apr. 2012. <http://www. artenovance.com/lithographies/artiste-peintre-artistes-peintres-art-contemporain-cd/carzou-jean/ lithographie-estampe-originale-jean-carzou-02.php>.

4.27 “Carzou Available Works.” Stephanie’s Gallery. Web. 23 Apr. 2012. <http://www.stephaniesartgall ery.com/html/carzou__available_works.htm>. 4.28 ”Artnet Galleries: Woman with Necklace by Jean Carzou from Gilden’s Arts UK.” Fine Art, Decorative Art, and Design. Web. 23 Apr. 2012. <http://www.artnet.com/art work/426049430/173111/jean-carzou-woman-with-necklace.html>. 4.29 De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. II. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 4.30 “Harpy.” : Harutyun Galents, 1908-1967. Web. 23 Apr. 2012. <http://arpi-tatev.blogspot. com/2012/02/harutyun-galents-1908-1967.html>. 4.31 “Artnet Galleries: Lydia De Dos Dans L’atelier by Jean Jansem from The White House Gallery.” Fine Art, Decorative Art, and Design. Web. 23 Apr. 2012. <http://www.artnet.com/art work/426193035/134198/jean-jansem-lydia-de-dos-dans-latelier.html>. 4.32 “Artnet Galleries: Nu De Dos Au Tabouret by Jean Jansem from The White House Gallery.” Fine Art, Decorative Art, and Design. Web. 23 Apr. 2012. <http://www.artnet.com/ag/fineartdetail. asp?wid=426147659&gid=134198 >.

4.33 “AVETISSIAN, Minas1928-1975.” ACAM. Web. 23 Apr. 2012. <http://www.acam-france.org/arme nie/arts-galerie/minas.htm>. 4.34 “AVETISSIAN, Minas1928-1975.” ACAM. Web. 23 Apr. 2012. <http://www.acam-france.org/arme nie/arts-galerie/minas.htm>. 4.35 “AVETISSIAN, Minas1928-1975.” ACAM. Web. 23 Apr. 2012. <http://www.acam-france.org/arme nie/arts-galerie/minas.htm>. 4.36 “Kochar Museum.” Kochar.am. Web. 23 Apr. 2012. <http://kochar.am/1_1_1.php?page_content=2>. 4.37 “Kochar Museum.” Kochar.am. Web. 23 Apr. 2012. <http://kochar.am/1_1_1.php?page_content=2>. 4.38 “Kochar Museum.” Kochar.am. Web. 23 Apr. 2012. <http://kochar.am/1_1_1.php?page_content=2>. 4.39 “Kochar Museum.” Kochar.am. Web. 23 Apr. 2012. <http://kochar.am/1_1_1.php?page_content=2>. 87

4.40 De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 4.41 De Lafayette, Maximillien. Armenian Painters and Art from the Medieval Age and Diaspora to the Present. Vol. I. New York: Times Square, 2011. Print. Who’s Who of the World’s Best Armenian Painters and Artists. 4.42 ”Arshile Gorky Biography, Date of Birth, Birth Place and Pictures | BrowseBiography.com.” BrowseBi ography.com. Web. 23 Apr. 2012. <http://www.browsebiography.com/bio-arshile_gorky.html>. 4.43 ”Arshile Gorky Biography, Date of Birth, Birth Place and Pictures | BrowseBiography.com.” BrowseBi ography.com. Web. 23 Apr. 2012. <http://www.browsebiography.com/bio-arshile_gorky.html>.

4.44 ”Arshile Gorky: A Retrospective Â« The Curve | MOCA, The Museum of Contemporary Art, Los Angeles.” Arshile Gorky: A Retrospective Â« The Curve. Web. 23 Apr. 2012. <http://www.moca.org/ audio/blog/?cat=39>. 4.45 “Image Gallery.” The Arshile Gorky Foundation. Web. 23 Apr. 2012. <http://arshilegorkyfoundation. org/image-gallery>. 4.46 “Image Gallery.” The Arshile Gorky Foundation. Web. 23 Apr. 2012. <http://arshilegorkyfoundation. org/image-gallery>. 4.47 “Image Gallery.” The Arshile Gorky Foundation. Web. 23 Apr. 2012. <http://arshilegorkyfoundation. org/image-gallery>. 4.48 “Arshile Gorky: A Retrospective Â« The Curve | MOCA, The Museum of Contemporary Art, Los Angeles.” Arshile Gorky: A Retrospective Â« The Curve. Web. 23 Apr. 2012. <http://www.moca.org/ audio/blog/?cat=39>. 4.49 “Arshile Gorky: A Retrospective Â« The Curve | MOCA, The Museum of Contemporary Art, Los Angeles.” Arshile Gorky: A Retrospective Â« The Curve. Web. 23 Apr. 2012. <http://www.moca.org/ audio/blog/?cat=39>. 4.50 “Arthur Pinajian Woodstock Years Gallery.” Arthur Pinajian Official Website. Web. 23 Apr. 2012. <http://www.pinajianart.com/gallery/woodstock/index.htm>. 4.51 Leon Tutundjian. Web. <http://www.artregister.com/ZimmermannCatalogue/French/tutundjian/vi sion%20lunaire.html>.

4.52 ”BFI | Sight & Sound | Out of the Shadows.” Home. Web. 23 Apr. 2012. <http://www.bfi.org.uk/sight andsound/feature/49604>. 4.53 ”Ferdy on Films.” Ferdy on Films. Web. 23 Apr. 2012. <http://www.ferdyonfilms.com/?p=4906>. 4.54 ”BFI | Sight & Sound | Out of the Shadows.” Home. Web. 23 Apr. 2012. <http://www.bfi.org.uk/sight andsound/feature/49604>. 4.55 ”EuTorrents.com - European Movies and TV Drama Torrent Download EuTorrents.” EuTorrents.com. Web. 23 Apr. 2012. <http://bt.eutorrents.com/index.php?page=torrent-details>. 4.56 ”EuTorrents.com - European Movies and TV Drama Torrent Download EuTorrents.” EuTorrents.com. Web. 23 Apr. 2012. <http://bt.eutorrents.com/index.php?page=torrent-details>. 4.57 “EuTorrents.com - European Movies and TV Drama Torrent Download EuTorrents.” EuTorrents.com. Web. 23 Apr. 2012. <http://bt.eutorrents.com/index.php?page=torrent-details>. 4.58 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>. 4.59 Winston Churchill 1941 Photo by Yousuf Karsh. Web. <http://uncyclopedia.wikia.com/wiki/ File:464px-Winston_Churchill_1941_photo_by_Yousuf_Karsh.jpg>. 4.60 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>. 4.61 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>. 4.62 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>. 4.63 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>. 4.64 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>. 4.65 “Yousuf Karsh / Photographer.” Yousuf Karsh / Photographer. Web. 23 Apr. 2012. <http://www. karsh.org/>.

Chapter 5: Today’s Armenian Artists 5.1 ”Darzoo.” Paintings. Web. 23 Apr. 2012. <http://www.darzoo.com/gallery.html>. 5.2 ”JonathanRosenbaum.com.” Â» Blog Archive Â» An Unidentified Subject (Egoyan’s CHLOE). Web. 23 Apr. 2012. <http://www.jonathanrosenbaum.com/?p=20199>. 5.3 “Five Clips from Atom Egoyan’s Chloe.” Five Clips from Atom Egoyan’s Chloe. Web. 23 Apr. 2012. <http://www.beyondhollywood.com/six-clips-from-atom-egoyans-chloe/>. 5.4 ”Ararat.” Movie Posters at MovieGoods.com. Web. 23 Apr. 2012. <http://www.moviegoods.com/mov ie_poster/ararat_2002.htm>. 5.5 “Atom Egoyan: Ararat (2002) Â« Can’t Stop the Movies | Four Friends Vs. Film.” Can’t Stop the Movies. Web. 23 Apr. 2012. <http://www.cantstopthemovies.com/2011/06/atom-egoyan-ararat-2002/>. 5.6 “Ruben Malayan / 15levels.com / Creative Portfolio 2012.” Ruben Malayan / 15levels.com / Creative Portfolio 2012. Web. 23 Apr. 2012. <http://15levels.com/2012/>. 5.7 “Ruben Malayan / 15levels.com / Creative Portfolio 2012.” Ruben Malayan / 15levels.com / Creative Portfolio 2012. Web. 23 Apr. 2012. <http://15levels.com/2012/>. 5.8 ”Vahe Berberian.” Vahe Berberian. Web. 23 Apr. 2012. <http://vaheberberian.com>. 5.9 Yerevan Magazine. Web. <http://yerevanmagazine.com/journey-is-the-destination/>. 5.10 “Vahe Berberian.” Vahe Berberian. Web. 23 Apr. 2012. <http://vaheberberian.com>. 5.11 “Vahe Berberian.” Vahe Berberian. Web. 23 Apr. 2012. <http://vaheberberian.com>. 5.12 “Vahe Berberian.” Vahe Berberian. Web. 23 Apr. 2012. <http://vaheberberian.com>. 5.13 “GYANK Opens March 16, 2012.” Vahe Berberian. Web. 23 Apr. 2012. <http://vaheberberian. com/2012/03/01/gyank-opens-march-16-2012/>. 5.14 Photograph distributed by Ani Ishkhanian. 5.15 Photograph distributed by Ani Ishkhanian. 5.16 Photograph distributed by Ani Ishkhanian. 5.17 Photograph distributed Ani Ishkhanian.

ALIK ELEYJIANâ&#x20AC;&#x2122;S

Journey Through

Armenian Art History