ART HISTORY AND ARMENIAN GENOCIDE

Photo:  Conquest of the space, Jean Carzou, 1970.

 

AFTER THE GENOCIDE: THE AWAKENING OF ARMENIAN ART. THE INTERNATIONAL ASPECT OF ARMENIAN ART  

ARMENIAN ART ETHNICITY VERSUS FOREIGN INFLUENCE

After the Genocide, Armenian artists had to redefine and launch their art. For art has become a natural vehicle to express their feelings, sentiments, views, opinions and state of mind. Diasporan Armenian artists rapidly realized that the future of the Armenian culture, civilizations and arts depended on the preservation of the national heritage and the development of new ways and means which will bring them closer to the world’s scene. They understood that, Armenian art had to become an international art without loosing its roots and Armenian ethnic identity. Even though, the great art of the illuminated manuscripts  paintings, the medieval iconographic art and  the Katchkars remained the most authentic and precious Armenian art  and national treasures, modern Armenian artists felt the necessity of exploring new international and foreign artistic dimensions, and add foreign techniques, genres, styles, platforms and expressions to the landscape of the traditional Armenian art.

 

Photo: From the Armenian Genocide Album: Turkish soldiers proudly posing with bodies of their Christian Armenian victims. The Christian Armenians and Greeks were hunted like animals and killed by the Turks on a daily basis

Thus, many of them who settled in France, Italy and The Netherlands did not sit on the laurels of the glorious artistic past of their predecessors and exclusively limit their creativity to the preservation of ancient Armenian styles of paintings. They began to explore new themes and subjects taken from the new milieux and societies of Europe and other foreign countries. Amazingly enough, some of the Diasporan Armenian artists became leaders of new art schools, styles, genres and artistic concepts. Leon Tutundjian’s surrealistic avant-garde style is unsurpassed in beauty, quality and visionary creativity. Edgar Chahine’s paintings of Parisian boulevards, festivities and French societies became more French than the French paintings of the leading Parisian masters and pioneers. Some of the most visible pioneers of the neo avant-garde European movement were Georgi Yakulov and Yervand Kochar. Both of them were more European in approaching and treating themes than many of their European colleagues and peers. Armenian art become an international art.

Photo: Horse Racetrack by Yugolov, 1905

This universal Armenian art awakening was followed up by a wave of creative and uniquely talented Armenian artists at many levels through different and divergent styles, concepts, themes, compositions and aesthetic expressions. Some of the leaders of the new “Universal Armenian Art” movement were: Vardkes Surenyantz, Yeghishe Tatevosian,  Panos Terlemezian, Stephan Aghadianian, the illustrious Gevork Bashingaghian, Armiss (Armenag Missirian), Puzant Topalian  known his romantic emotionalism, Zareh Mutafian known for his  realistic lyricism, Gabriel Harentz, Richard Jeranian, Ardavatz Berberian, Bergeo (Berdj Kosdanian), Papaz, Arshag, Berlian, Barsoumian, Alecian, Kazandjian, Torossian, Daderian, Assadour Bezdiguian known for his “logico-intellectual” style, Tradt Nalbandian, Vehik Tergrigorian and Hovsep Karalian known for his innovative style which depicted unusual positions and movements of his models, the shapes and forms of figures, simplified lines, and  combinations of premium colors, particularly yellow and black. Herant Gulbenkian known also as Hrant Gulbenk was born in 1880 in Constantinople, Turkey and died in 1968 in Paris, France. He is one of my favorite Diasporan artists in France. He fled the massacres of the Armenian Genocide in 1915 and settled in Paris . He set up residence in Montmartre and lived a French artist’s life. Even though Gulbenkian was a self-taught artist, he learned a lot from the legendary Maurice Utrillo. He signed his impressionist canvases as “Gulbek” or “Gulbenk” to disassociate himself from the family of the multi-billionaire oil magnate, Calouste Gulbenkian. Despite his superb artistic quality, Hrant Gulbenk died in Paris, poor, destitute, lonely, desperate and  alone. Today, he is considered as one of Armenia’s greatest landscape impressionists. If you look at his art, you will notice that, despite his strong attachment to traditional Armenian values, principles and convictions, this magnificent artist depicted French sceneries with an European style, leaving behind the easels, his Armenian historical, sociological and religious roots. He was more French in depicting Parisian scenes and themes than traditional French impressionists.

 

ART HISTORY AND ARMENIAN GENOCIDE

 

Photo: Grandfather in his shop by Aslanian, 1990.

Although the artists are Armenian by their ethnic origin, many of them were born outside Armenia and or spent their entire creative life in countries outside the homeland. Therefore, one question might come to our mind: Is their art individually or collectively Armenian? If one chooses to answer "yes" then, there is a presumed relation between artistic creativity and ethnicity, a notion that is very difficult, if not impossible, to demonstrate and proof. Whether the answer is yes or no, the question presupposes the existence of a recognizable  Armenian art consciously or sub-consciously shared by Armenian artists, regardless of their immediate surroundings, foreign influence and or loyalty to the old Armenian school. I do believe that, grouping and categorizing artists by the country of their origin, in order to define their style, is unconceivable. Many art historians have decided that the most convenient, and certainly the most popular way of categorizing art and artists is by a national label. I tend to disagree with them, for Armenian art after war world  two has transcended to an international art expression. Of course, we have become accustomed to notions of Greek, Roman, Italian, French, German, American, Russian, Chinese, or Egyptian art, because we felt that they were easily recognizable and identifiable by their style, structure, motifs, themes and techniques, so why don’t we do the same with Armenian art? Oviously a Roman temple was built by Roman architects and artisans. A Babylonian fresco was done by a Babylonian artist. An Egyptian temple in Luxor was designed by an Egyptian architect. Then, would it be safe and realistic to say that, an Armenian painting is Armenian because it was done by an Armenian artist? I do not think so. If you look at any painting done by Leon Tutudjian or Edgar Chahine,  you will never find any indication that they were executed by an “ethnic” Armenian artist, yet, those two artists were “extremely” Armenian in their way of life, in their beliefs and in their visions of the world. But, their style of paintings did not reflect Armenian ethnicity. On the contrary, their style became the gateway and the window to a new style and a school of esthetic thought in the twenty and twenty first centuries. Therefore, Armenian art, whether ancient, medieval, or modern, should not be labeled as a “natural Armenian product” simply because the authors and artists were Armenians.  An art historian once asked this question: “But does the term have any meaning beyond its convenience in grouping diverse creators who happen by accident of birth to share the same national origin?” Another art historian replied: “It is difficult to say.” Other art historians in the United States advanced this theory: ”Perhaps, when limiting the idea to those artists who live and work in Armenia, we might find a number of common factors. But are there such shared qualities among Diasporan artists scattered over three continents with little, if any, contact among themselves or with the homeland?”

  Paintings by Hrant Gulbenk

 

 

 

 

 

 

 

 

ART HISTORY AND ARMENIAN GENOCIDE

 

Photos From L to R: #1. Ghemma by Edgar Chahine, 1908 . #2.  Germaine by Edgar Chahine, 1909

A BRIEF NOTE ON THE NEW REVIVAL OF ARMENIAN ETHNIC ART IN THE 19^th CENTURY: Toward the end of the 19^th century,  the Armenian people began to express a collective interest in their art of painting. In 1874 in Tiflis,  new Armenian arts schools and  institutes were opened  and others in Constantinople, Turkey  in 1883. Armenian artists who were trained in Russia and Europe decided to remain in Armenia in order to help launch the art of painting. Martiros Sarayan was the most ardent advocate of that nationalistic movement. Abroad, Armenian artists began to organize links and bridges of communications with their compatriots in the homeland. In addition to their regular contact with their peers in Armenia, leading Armenian artists began to revive the old Armenian art history and heritage inside and outside Armenia. For instance, Fetvadjian began to document  the architectural monuments and historical sites of medieval Armenia. He completed voluminous documentaries on the subject. Short after, he completed a massive documentary on the history of Armenian coinage art.  His colleague, S. Katchadourian  embarked on a descriptive journey of traditional Armenian, Indian and Iranian icons and miniatures, as well as Armenian costumes, uniforms and folkloric dresses. In 1925, the first part of his researched work was published in Vienna, Austria followed by a massive publication in 1930. Indeed, this was the awakening of a collective  awareness and patriotic interest in the revival of ethnic Armenian art. Diasporan artists in Europe commenced to create Armenian arts organizations and art leagues   wherever they lived and worked. Among the most visible Armenian arts organizations were: "Association Toros Roslin” established in 1966 in Paris, "Association of Friends of Armenian Culture"  established in Cairo in 1943,  "Society of Armenian-American Artists" established in Boston in 1969, the  famous "Ani"  union in Paris in 1926,  followed in 1932 by  "Society for Free Armenian Artists" located in Paris. At that time in history, the Armenian Diaspora art began to flourish in Europe and most particularly in France. European art communities and galleries began to recognize and exhibit paintings done by Armenian Diasporan artists living in Europe. Among the very-well received and acclaimed Diasporan artists were: Zakar Zakarian, Tigran Polat (who illustrated the books of France’s great Anatole France, the world famous French poet Paul Verlaine and several fables by Jean de La Fontaine), Sarkis Katchadourian, Melkon Kebadjian, Jean Alhazian, Arshak Fetvadjian, Raphael Shishimanian, Tigran Essaian, Armina Babaian and Yerdant Demidjian.

 A BRIEF NOTE ON THE NEW REVIVAL OF ARMENIAN ETHNIC AND MODERN ART BY THE TURN OF THE 20^th CENTURY : The turn of the 20^th century witnessed a vibrant revival of modern Armenian art in all its forms and expressions in many parts of the world and particularly in Paris, Tiflis and Constantinople. This revival was fueled by nationalist and patriotic movement lead by Diasporan artists who belonged to various schools of arts. Some of those artists were conformist, while the majority of them were either avant-gardist or” visionnaires”. Some of the most famous figures were: Hagop Hagopian in Alexandria, Egypt, Gregorio Sciltian in Milano and Gerardo Orakian in Roma, Italy, Khatchadourian and  Carzou  in Cairo, Egypt and Paris, France, Sergei Paradjanov in  Tblisi, Georgia (Former Soviet Union), Hovsep Pushman, John Altoon, Milano Kazanjian, Haig Patigian, Charles Garabedian, Rouben Nakian, Sam Tchalakian, Garo Antreassian  and Arshile Gorky in the United States,  Leon Tutundjian, Charles Atamian, Edgar Chahine, Zakar Zakarian, Hagop Gurdjian and Jansem in France, Martiros Sarayan, Minas Avetissian  and Yervand Kochar in Tiflis and Yerevan.

A BRIEF NOTE ON THE ARMENIAN ART OF THE WAR YEARS AND POST WAR YEARS: During the Great Patriotic War (1941-1945) the art came ever closer to life. There was a great immediacy in the reaction news from the fronts, and war correspondents' reports. Political posters and cartoons became the order of the day, and painters and sculptors turned to war themes. New names of talented painters appeared on the horizon, painters such as H. Zardarian, E. Isabekian, and K. Yesayan. The post war years saw even greater rise of new artists and new talents. In 1946,  the Art and Theater-Décor Institute opened and set in motion new Armenian schools and styles. New and innovative in concept, thought, techniques and aspirations. By the end of 1950, the post war art movement created many new talented and avant-garde artists living and painting in Tbilisi, to name a few:  Alexander Bazhbehouk-Melikian and Gevork Grigorian (Giotto). These two artists will make their mark on Armenian art and strongly influence its development between 1950 and 1960. Other illustrious Armenian artists living in Paris, such as the legendary Yervand Kochar (famous for his sculpture of Sasuntsi Davit) and Georges Yakulov also contributed to the rising development of the Armenian post war art. The influence of Kochar on the modernization of Armenian art in Europe produced waves of outstanding artists who became extremely famous in the United States, France and Lebanon. Among the world famous Armenian painters of that period were Haroutiun Galentz,  A. Galentz, P. Konturajian, and A. Gharibian. Haroutyun Galentz was unique and most certainly, he was the most interesting of them, for he was a truly lyrical artist with an accentuated romantic colors. The fine artistry of Haroutiun Galentz’s work left a deep imprint on the aspiring Armenian artists in the homeland and abroad.

 

ART HISTORY AND ARMENIAN GENOCIDE

 

BRIEF OVERVIEW OF ARMENIAN ART PIONEERS: PERIODS AND MOVEMENTS

Painting: Entry to Jerusalem by Gayaneh Khatchaturian, 1985

NEW NATIONAL ART IN THE BEGINNING OF THE 19^th CENTURY: At the beginning of the 19th century and following the unification of Eastern Armenia with Russia, Hagop Hovnatanian (taught by his father) in Tbilisi, created the new national Armenian art. He excelled in portraiture and miniatures.

ROMANTICISM IN ARMENIAN ART:Two original Armenian artists were at the origin of romanticism in Armenian arts: Stephanos Nersisian was the first painter to introduce romanticism into Armenian art, both in the homeland and abroad. Hovaness Aivazovsky introduced romanticism and lyricism through his seascape paintings, maritime/naval themes and national landscape subjects. 

 NATIONAL REALISM IN ARMENIAN ART: Gevorg Bashinjagian was the first Armenian artist to introduce realism in Armenian art, followed by Stephanos Nersissian ,Harutun Shishmanian, Vardkes Sureniants, Manuk Mahtesian, Khachatur Ter-Minasian), Manuk Alajalov, David Okroyants, Grigor Gabrielian, Mkrtich Chivanian, Simon Hakobian, Umed Peizat, George Tamadian and Aslan D’Abro.

  IN THE LATE 19^th CENTURY AND EARLY 20^th CENTURY

Among the very first leaders of that era who excelled in landscape, portrait and medieval architectural themes were: Stephan Agajanian, Yenok Nazarian, Hmayak Artsatpanian, Panos Terlemezian, Hmayak Hakobian, Zakar Zakarian, Arsen Shapanian, Vartan Mokhokian and Arshak Fetwajian.

Painting: Entitled by Willian Saroyan, 1963

IMPRESSIONISM, QUASI-IMPRESSIONISM AND SYMBOLISM IN ARMENIAN ART: Impressionism, quasi-impressionism and symbolism were introduced by numerous artists in the homeland and in the Diaspora. Among the pioneers were: Egishe Tadevosian, Charles Adamian, Vahram Gaifejian, Hovsep Pushman, Martiros Sarayan, Sargis Khachadurian, Hovaness Alkhazian and Georgie Yakulov.

RE-ESTABLISHMENT OF THE TRADITIONAL RUSSIAN SCHOOL OF ART: Among the most visible advocates of the traditional Russian school of art (Style and not ideologies) were: Sarian, Agajanian, Terlemezian, Sarkissian, Urartu, Gurjian, Kojoyan and Stepanian.

 IDEOLOGY IN ARMENIAN ART

The leaders of that movement were: Zardarian, Savayan, Isabekian, Avetissian, Safarian, Nikogosian, Chubarian, Siravian, Avetissian, Nalbandian, Sharambian, Vardenian, Abegian, Bashbeuk-Millikian, Gulikekhvian, Bekarian, Yesayan and Aslamazian.

  ARMENIAN GRAPHIC ART

At the end of the 19^th century and at the dawn of the 20^th century Agaton Hovnatanian and Hovannes Katanian  introduced graphic art into the Armenian national art, followed by Shishmanian, Sureniants, Chahine, Polat, Kojoyan, Terlemezian, Gaiferjian, Gurjian, Aghajanian, Tadevosian, Arakelian, Yesayan, Fetwajian, Kebabjian, Khojabekian, Sharbajian, Yeritsian, Okroyants, Urartu, Gharibian, Abeghian, Arakelian, Rashmajian, Simonian, Gurjian, Mamajanian, Kochar,Artouchian, Khachvankian, Petrosian, Gharibian, Dermidjian, Ayvazian, Mamian, Hunanian, Khachikian, Isabekian, Khatchatrian, Katanian, Shishmanian, Arakelian, terlemezian and Gaiferjian.

 

ART HISTORY AND ARMENIAN GENOCIDE

AFTER WORLD WAR TWO: INDIVIDUALISM VERSUS TRADITIONALISM

Photos from L to R: #1. Genocide by Jean Kazandjian, 1981. #2. Three Figures by Anatoli Papian.

Short after world war two, a galaxy of outstanding Armenian artists emerged in the universe  of contemporary Armenian art. Galleries directors and museums curators rushed to exhibit their work. Many of them became celebrities overnight. Among the most successful Armenian artists of the beginning of the post world war two were:  Rouben Najarian, Hagop Khoubesserian, Arto Tchakmakjian, Manuel Tolegian, Leone Minassian, Shart, Jirayr Zortahya, Richard Jeranian, Dikran Daderian, Paul Giragossian (He became the leader of the modern art movement in Lebanon), Amaduni, Assadour Bezdikian, Jean Kazandjian, Vahe Barsumian, Alexander Birejiklian, Zadik Zadikian, Herman Vahramian and Henrig Bedrossian. Between 1950 and 1975, a new wave of Armenian artists who tried to free their muse from traditional schools and the Russian influence, came to life. Some of those artists have studied on the hands of famous Russian artists in Moscow, Odessa, Kiev and other parts of the former Soviet Union. While, many others were either self-taught and or learned on the hands of Armenian artists who have never painted under the influence of the Russian, European or traditional Armenian artists.

Painting: Still life by Hrant Gulbenk.

Another group of leading Armenian artists broke completely their ties with traditionalism. This group abolished the old dogmatic art to establish the notion of “independent art” based upon individual exploration and new approaches to traditional and contemporary arts. Among the most famous ones were: F. Manukian, N. Avetisian, A. Avoyan,  M. Hovannesian, R. Hovnatanian, A. Sarkisian, K. Nigarian, A. Papikian,  A. Grigorian, O. Petrosian, A. Gevorkian, S. Petrosian, A. Petrosian, H. Tadevosian,  E. Kharazian, A. Parsamian and G. Khachatrian. Another wave of leading Armenian artists was added to the roster of innovative painters emphasizing on “individualism” in art. Among the most visible ones were: Zulum Grigorian, Sargis Mouradian,  Rouben Adalian,  Edljard Artzrunian, Hovaness Sharambekian, Levon Kojoyan, Alexander Grigorian, Nikhoghos Kotanjian, Souren Sarafian, Vruyr Galstian, Mkrtich Sedrakian, Grigor Aghasian and Anatoli Papian.

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