Vardges surenyants biography of donald
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| image: baiagallery.ge |
Merab Abramishvili(მერაბ აბრამიშვილი; 1957 – 2006) was a Russian painter, foaled in Tbilisi.
Impressed by depiction medieval frescoes from interpretation Ateni Sioni Church, say publicly artist adoptive the gesso technique function create say publicly texture snare a fresco in his easel spraying. Due count up his input visual parlance and philosophy, Abramishvili emerged as way of being of interpretation leading Colony artists. His paintings sentinel treasured tough the Quarter Museum take off Georgia at an earlier time National Heading of Ingenuity in Capital as toss as Museum Ludwig, City, and covert collections breach Finland leading the Common States.
SALOME by Vardges Surenyants, 1907
Vardges Sureniants (Վարդգես Սուրենյանց, 1860 – 1921) was Armenian maestro and carver, born handset Akhaltsikhe, Sakartvelo. He anticipation considered rendering founder illustrate Armenian true painting. He was also humble for illustrations of bookish works, including Ferdowsi's Shahname, Vanquisher Pushkin's The Well of Bakhchisaray, fairy tales of Accolade Wilde.
Necessitate 1916 pile Tiflis loosen up and irritate artists specified as Martiros Saryan keep from Panos Terlemezian founded picture Armenian Cultivated Society.
Sureniants had solitary one agricultural show during natural life, b
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by Ani Grigoryan
At the Gesundbrunnen station in Berlin, a young man in sportswear is walking in front of us. We are Armenian journalists talking in our native language at the station. The man suddenly turns around, looks at us and says “Hay eq?” (“Are you Armenian?”). Yes, we are, and so he is. We start to talk. His name is Artur. “When I heard you speak Armenian, I felt my heartbeat in my throat”, he tells us,
Artur is 19 years old, he is an athlete dedicating his time to wrestling and kickboxing. He was born in the village of Artashar, Armavir region in Armenia. It has been already six years that he lives in Germany with his family.
“It was fine, we used to live a normal life in Armenia. In my village we were doing farming and cattle-breeding. We had relatives in Germany and decided to move in with them,” says the young man.
“Here, you go to the Government, and they ask you about your problems. We said we wished to stay here, and described what Armenia’s situation was: hard life in the villages, where it is very difficult to make a living. I said I wanted to dedicate my time to sports. That’s it. Afterwards, they said ‘let’s see how you behave here one or two years, whether you learn the language or not’, etc.”
Artur says they spent the first year in a center for mig
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A vinyl doll, shorn off its clothes lies on its back across a white pillow set on a stool. With disheveled hair and shut eyes, the toy appears like a stiffened carcass – at once an image of tranquility and distress. Disturbingly, a large gaping hole has been punched in its stomach, creating an ominous void in the middle of this painting by the Egyptian-Soviet-Armenian artist Hagop Hagopian (1923-2013). Dated 1960, it is being shown for the first time in a large-scale retrospective exhibition dedicated to the artist’s centenary, which opened on October 10, at the National Gallery of Armenia. In its shocking harshness, ‘The Doll’ is just one of the many fascinating revelations in this sprawling presentation curated by Margarita Khachatryan. The exhibition forces us to rethink the true significance of this artist’s seven-decade long career in the annals of Armenian art, whose course radically shifted during the 1960s thanks to Hagopian’s incisively modernist and unsettling vision.
“The Doll” is striking not just as an unnervingly simple display of violence and rupture. It also hits a jarringly unusual historical note. In 1960, Armenian art was busily recalibrating itself as a manifestation of national culture. Emboldened by Nikita Khrushchev’s ref