User:Yerevantsi/sandbox/Saryan

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Martiros Saryan

Martiros Saryan
A 1907 self-portrait
Born28 February [O.S. 16 February] 1880
Nakhichevan-on-Don, Don Host Oblast, Russian Empire
DiedMay 5, 1972(1972-05-05) (aged 92)
Yerevan, Armenian SSR, Soviet Union
Resting placeKomitas Pantheon
NationalityArmenian
MovementPost-Impressionism, Neo-primitivism

Martiros Saryan (also Sarian, Armenian: Մարտիրոս Սարյան, Russian: Мартирос Сарьян; 28 February [O.S. 16 February] 1880 — 5 May 1972) was Armenian modernist painter

Born in Nakhichevan-on-Don, an Armenian town in southern Russia, Saryan was initially part of Blue Rose


Life[edit]

Saryan was born on 28 February [O.S. 16 February] 1880 in Nakhichevan-on-Don to an Armenian family originally from Crimea. He first graduated from a public bilingual (Armenian-Russian) school in 1895 and then studied at Hmayakan Artsatpanian's workshop. He subsequently attended the Moscow School of Painting, Sculpture and Architecture from 1897 to 1904. There he was a student of Valentin Serov and Konstantin Korovin. Saryan first visited Armenia (Russian Armenia) in 1901, traveling to Yerevan, Ashtarak, Ejmiatsin (the center of the Armenian Church), and Lake Sevan, and in 1902, to Ani, the grand capital of Bagratid Armenia.[1]

in early art, 1986-1903 realistic features dominate[1]

1904-09 rejects traditional thinking, creates own style. acquainted with French modern art. In 1907 partakes in Blue Rose exhibition[1]

travels to Constantinople in 1910, in 1911 to Egypt, in Persia in 1913.[1]

three paintings "Glitsinianer" "Mrgegheni krpak", "Street in Constantinople" (all 1910) were purchased by Tretyakov Gallery[1]

During the Armenian Genocide of 1915, Saryan worked with the Moscow Committee to Help Armenians. He also visited Ejmiatsin to help Armenian refugees, with Hovhannes Tumanyan and Garegin Hovsepian. Experienced psychological trauma after witnessing the hardship. On Tumanyan's initiative, he's moved to a hospital in Tiflis.[1]

In 1916 Հայ արվեստագետների միություն Panos Terlemezian, [[[Yeghishe Tadevosyan]], Vardges Sureniants[1]

moved to Yerevan in 1921 with family, after Sovietization; 1920-1972, new period

1921, with Kojoyan, creates Soviet Armenian's emblem[1]


[1] [1] [1]

Art[edit]

Saryan was a modernist artist.[2] More specifically, his work has been generally characterized as a Post-Impressionist,[3][4] while Peter Balakian called it avant-garde.[5] Saryan's art has been compared to those of Paul Cézanne and Henri Matisse.[6] One author called his work an "attractive halfway house between Matisse and the Persian art he sometimes resembles."[7]

Art critics have noted the influence of European modernism,[8] namely Matisse[9] and Paul Gauguin, but also the Russian painters Valentin Serov and Konstantin Korovin.[10]

Saryan has been credited with reviving the "colour schemes of medieval Armenian manuscript illumination in landscape and still-life painting."[11]


Evolution[edit]

His earlier works, associated with Blue Rose have been described as neo-primitivism,[12] containing the influence of Symbolism and Fauvism.

John Ellis Bowlt In the case of Saryan and, later Kuznetsov, the post-Blue Rose period was marked by a return to 'life' in the form of their escape to the primitive East (Armenia and Kirghizia) with its vivid colours, arid clarity and rural beauty.[13]

the postrevolutionary work of Soviet-Armenian master Martiros Saryan bears virtually no relationship to that of his Impressionist period at the turn of the century[14]

Works[edit]

portraits, landscapes, still art, պաննոներ Panel painting, գրքերի ձևավորումներ book designs, բեմանկարչություն Scenic design[1]


State symbols[edit]

In July 1919 Saryan proposed a rainbow flag for the First Republic of Armenia in a letter to Prime Minister Alexander Khatisian. He justified the colors "It would suit us, as an Eastern people,to have the multi-colored flag, which is manifested by the charming and ever-beautiful rainbow." It was not adopted by the government of Armenia.[15]


http://www.sarkavagagirq.net/2011/05/blog-post_27.html

Emblem of the Armenian Soviet Socialist Republic

coat of arms[1] [2]

Recognition[edit]

Saryan's gravestone at Komitas Pantheon, Yerevan.

Saryan is Armenia's best-known painter of the 20th century.[16] He was well-regarded not only in Soviet Armenia, but the entire Soviet Union and enjoyed an international reputation.[17] When he died, his official obituary was signed by Soviet leader Leonid Brezhnev, and the entire Soviet leadership, which The New York Times noted was an "honor reserved for the nation's most prominent personalities."[18] It was also signed by Anton Kochinyan, leader of Soviet Armenia, prominent Armenians such as composer Aram Khachaturian and astrophysicist Victor Ambartsumian.[19]

Georgi Derluguian and Ruben Hovhannisyan: one of the "modern icons of Armenian pride"[20]

Saryan was buried at Komitas Pantheon, next to other prominent Armenian artists and scholars.


http://lraber.asj-oa.am/3229/ Կախարդական գույների երգիչը

Awards[edit]

Legacy[edit]

Saryan influenced Minas Avetisyan[22] and the German Der Blaue Reiter school.[23]


[24]

ru:Цвет армянской земли

Auctions[edit]

£623,700[25]

A sun-drenched street scene in Turkey by the Armenian painter Martiros Saryan, which could hold its own with Matisse, sold for a record £388,000.[26]

sources[edit]

Basmadjian, Vartoug (1995). "Light in darkness: The spirit of Armenian nonconformist art". In Rosenfeld, Alla; Dodge, Norton T. (eds.). From Gulag to Glasnost: Nonconformist Art from the Soviet Union (PDF). New York: Thames & Hudson. pp. 214–250. OCLC 263631797.

p. 227 

The artists who use this palette range from Postimpressionists, such as the late Martiros Sarian and his followers, including Minas Avetissian, to abstract painters such as Seyran Khatlamajian and Viguen Tade- vossian. While the use of color by these artists may vary slightly from one to another, each uses the bold reds and blues of traditional Armenian art. One finds these same hues in the medieval illuminated manuscripts of Toros Rosslin and Sarkis Bidzag.2 As Garig Basmadjian has noted:

228 

The eternal source of inspiration for all Armenian art . remains in the local colors: the sun, the multicolored tufa stones of pink, red, ochre . . the blue sky, cloudless for more than three hundred days a yearset against the white majestic back- ground of Mount Ararat.5

SARIAN


https://www.kommersant.ru/doc/1324185

https://arar.sci.am/dlibra/publication/188859/edition/171489/content?ref=L3B1YmxpY2F0aW9uLzE4ODUwNS9lZGl0aW9uLzE3MTE2MA Մարտիրոս Սարյան (Ծննդյան 90-ամյակի առթիվ) https://web.archive.org/web/20231217141723/https://arar.sci.am/dlibra/publication/188859/edition/171489/content?ref=L3B1YmxpY2F0aW9uLzE4ODUwNS9lZGl0aW9uLzE3MTE2MA

https://www.nytimes.com/1965/06/10/archives/soviet-gives-sarian-oneman-art-show.html?searchResultPosition=204 A one-man show of the works of Martiros Sarian, one of the Soviet Union's most original painters, has opened in Moscow as part of the observance of his 85th birthday.

These words were written in homage to Martiros Saryan, perhaps the greatest Armenian painter of the 20th century, who died in 1972 and now lies beside Mr. Saroyan in Yerevan https://www.nytimes.com/1982/06/14/arts/william-saroyan-s-long-journey-from-fresno-to-his-ancestral-land.html


the use of Fauvist tones found its most successful exponent in Martiros Saryan, who painted a vast series of Armenian landscapes in vivid colors. Considering the drab and monochrome uniformity of Soviet Communism, his art was all the more striking, making him the most popular Armenian artist of the 20th century. His powerful portraits also did not adhere to the regiment of socialist realism. Others had painted the Armenian countryside, but none had depicted it with such passionate intensity. Sarian's art stood apart from the requirement of state-sponsored artistic production, but its avoidance of political content made it tolerable.[27]



Blue Rose (art group)

a group of young artists who extended the principles of Symbolism to painting (the “Blue Rose” exhibition in 1907; Pavel Kuznetsov, Nikolai Sapunov, Martiros Saryan, and others) and who combined the influence of modern French painting with an interest in archaic imagery.[28]

"Blue Rose" Blue Rose (Golubaya Roza) Group of Russian painters active in the first decade of the 20th century, named after an exhibition held in Moscow in 1907. Their acknowledged inspiration was Victor Borisov-Musatov (1870–1905), celebrated for his paintings of languid young women in 18th-century costume, and their style was essentially *Symbolist, although there was also influence from *Fauvism and an interest in *primitivism. (The origin of the name is uncertain, but the colour blue was particularly significant for Symbolists, associated with the sky and spirituality, and the rose has many symbolic associations: in 1904 an exhibition called the Crimson Rose or Scarlet Rose (Alaya Roza) had been held in Saratov, Borisov-Musatov’s home town, and the Blue Rose was a successor to this.) Borisov-Musatov’s most talented follower was Pavel Kuznetsov (1878–1968); other members of the group included the Armenian Martiros Saryan (1880–1972),...... The group was promoted by and exhibited under the auspices of the journal Golden Fleece which was published in Moscow from 1906 to 1909.[29]

Saryan's neoprimitivism began around 1907 and continued to the end of his life. Painting in Georgia, Armenia and Turkey, his subject matter of markets, life in the streets, caravans and shrouded women are all done in the strongest of pure colours to catch the light and juxtapose the shadows in bold complementary colours. He was continually inspired by the folk arts of his native Armenia, and even organised the Museum of Archeology, Ethnography and Fine Arts. Saryan's painting never lost the vibrancy of colour, the solidity of the architecture and the power of the landscape around Mount Ararat.[12]

The neoprimitivist paintings of Martiros Saryan and Mikhail Larionov are two expressions of this style that was so prevalent in Russia around 1910. The artists knew each other from their student days, attending the Moscow School of Painting, Sculpture and Architecture in the first years of the twentieth century, and were the pupils of the same Russian impressionists, K Korovin and V Serov. They showed in the same group exhibitions of The Blue Rose and The Golden Fleece between 1907 and 1910, but thereafter Saryan moved to Georgia then to Armenia where he lived until his death in 1972, while Larionov became part of the Russian futurists, then moved to Paris to work for Diaghliev's Russian Ballet, and died there in 1963.[12]



MARTIROS SARYAN Self-Portrait 1907. The many sides of Martiros Saryan are apparent in this intense selfportrait, painted several years after his return from Paris in 1900. At this stage Saryan is still working with the palette he had seen.....[30]



sources2[edit]

Editorial (1972). "Հանգիստ Մարտիրոս Սարյանի (1880-1972)". Etchmiadzin (in Armenian). 28 (5): 15–16.

Drampian, Ruben G. (1972). "Памяти большого художника [In remembrance of the Great Painter]". Lraber Hasarakakan Gitutyunneri (in Russian) (5): 5–11.

Khachatrian, Shahen (1972). "Սարյանի արվեստը [Saryan's art]". Patma-Banasirakan Handes (in Armenian) (2): 288–291.

Stepanian, Ashot (1980). "Մարտիրոս Սարյանը և Արևելքը [Martiros Saryan and the East]". Lraber Hasarakakan Gitutyunneri (in Armenian) (7): 22–30.

Kotanjyan, Garegin (2000). "Մարտիրոս Սարյանի ստեղծագործության փարիզյան շրջանը (1926-1928 թթ.) և իմպրեսիոնիզմի նշանակությունը նրա գեղանկարչական լեզվի նորացման գործում [The Parisian Period (1926-1928) of Martiros Saryan's Creative Work and the Significance of the Impressionism in the Renewal of the Artist's Art Language]". Patma-Banasirakan Handes (in Armenian) (3): 71–79.

Drampian, Ruben G. (1958). "Пейзажи Армении в искусстве М.Сарьяна [The Scenery of Armenia in M.Sarian's Art]". Patma-Banasirakan Handes (in Russian) (1): 163–172.

Ghazarian, M. M. (1980). "Կյանքն ինքնանկարներում (Մարտիրոս Սարյանի ծննդյան 100-ամյակի առթիվ) [Life in Self-Portraits (on Martiros Sarian's birth centenary)]". Patma-Banasirakan Handes (in Armenian) (1): 77–86.



Sergey Mergelyan http://lraber.asj-oa.am/3229/


http://echmiadzin.asj-oa.am/4751/ Մտորումներ ապրիլ 24-ի առթիվ


Bowlt, John E. (1988). "Reviewed Work: Martiros Saryan: Paintings, Watercolors, Drawings, Book Illustrations, Theatrical Design. by Alexander Kamensky, Shahen Khachatrian, Lucy Mirzoyan, Ashkhen Mikoyan, Nikolai Kutovoi". Slavic Review. 47 (4): 776–777. doi:10.2307/2498236. JSTOR 2498236.

Mudrak, Myroslava M. (1989). "Reviewed Work: Martiros Saryan: Paintings, Watercolors, Drawings, Book Illustrations, Theatrical Design by Alexander Kamensky". The Russian Review. 48 (4): 443–445. doi:10.2307/130413. JSTOR 130413.

https://slovar.cc/enc/bse/2038994.html


hy:Գուրգեն Վանանդեցի Մարտիրոս Սարյան : Յեղիշե Չարենց : Նրանց ստեղծագործությունների հասարակական արժեքը

Արվեստի մասին

Մարտիրոս Սարյան = Мартирос Сарьян : 1880-1972

http://tert.nla.am/archive/HAY%20GIRQ/Ardy/1951-1980/martiros_saryan_1961.pdf

Drampian, Ruben G. [in Armenian] (1960). Մարտիրոս Սարյան [Matiros Sarian] (PDF) (in Armenian). Yerevan: Armenian SSR Academy of Sciences. Archived from the original (PDF) on 2019-02-03.



http://hpj.asj-oa.am/1467/ Մարտիրոս Սարյան (Ծննդյան 90-ամյակի առթիվ)

http://hpj.asj-oa.am/310/ Մարտիրոս Սարյանի ստեղծագործական էվոլյուցիայի գնահատման հարցի շուրջը

http://hpj.asj-oa.am/3753/ Մարտիրոս Սարյանի ծննդյան 125-ամյակին նվիրված գիտաժոդով

References[edit]

  1. ^ a b c d e f g h i j k l Matevosyan, Vilhelm [in Armenian]; Haytayan, Poghos [in Armenian] (1984). "Սարյան Մարտիրոս [Sarian Martiros]". Soviet Armenian Encyclopedia Volume 10 (in Armenian). pp. 238-241.
  2. ^ Harutyunyan, Angela (2008). "On the Ruins of a Utopia: Armenian Avant-Garde and the Group Act". In Jordan, Melanie; Miles, Malcolm (eds.). Art and Theory After Socialism. Intellect Books. p. 34. ISBN 9781841502113. Martiros Saryan ... the prominent modernist...
  3. ^ "Anatolia and the Caucasus, 1900 A.D.–present". Metropolitan Museum of Art. Martiros Saryan (1880–1972), for example, works in a Post-Impressionistic style and experiments with capturing the essence of light in his landscape and still-life paintings.
  4. ^ "The Color of Land". parajanov.com. Sergei Parajanov Museum. ...the post-impressionist painter Martiros Saryan's...
  5. ^ Balakian, Peter (20 August 2018). "My Armenia". The New York Times.
  6. ^ Lang, David Marshall (1980). Armenia: Cradle of civilization. Allen & Unwin. p. 248. ISBN 9780049560093. ...Sarian challenges comparison with the French Impressionists - a kind of Armenian Cezanne or Matisse...
  7. ^ Bell, Cory (2003). Modern Art: A Crash Course. Silverdale Books. p. 19. ISBN 9781856058001.
  8. ^ Bown, Matthew Cullerne; Taylor, Brandon (1993). Art of the Soviets: painting, sculpture, and architecture in a one-party state, 1917-1992. Manchester University Press. p. 143. ISBN 9780719037344.
  9. ^ Compton, Susan P. (1979). "Paris-Moscow 1900-1930, at the Centre Pompidou, Paris". The Burlington Magazine. 121 (918): 603. JSTOR 879755.
  10. ^ Evans, Mike (2008). Defining Moments in Art: Over a Century of the Greatest Artists, Exhibitions, People, Artworks, and Events that Rocked the Art World. Cassell Illustrated. p. 157. ISBN 9781844036400.
  11. ^ Harutyunyan, Angela (2017). The Political Aesthetics of the Armenian Avant-garde: The Journey of the 'painterly Real', 1987-2004. Oxford University Press. p. 225. ISBN 9780719089534.
  12. ^ a b c Railing, Patricia (March 1999). "Books in Brief". The Art Book. 6 (2): 46. doi:10.1111/1467-8357.t01-1-00142.
  13. ^ Bowlt, John E. (1976). "The Blue Rose: Russian Symbolism in Art". The Burlington Magazine. 118 (881): 566–575. JSTOR 878497.
  14. ^ Sjeklocha, Paul; Mead, Igor (1967). Unofficial Art in the Soviet Union. University of California Press. p. 72.
  15. ^ Hovhannissian, Petros (2009). "Հայաստանի աոաջին Հանրապետության պետական դրոշի՝ Մարտիրոս Սարյանի նախագիծը [The design of the national flag of the First Republic of Armenia by Martiros Sarian]". Etchmiadzin (in Armenian). 65 (5). Mother See of Holy Etchmiadzin: 118–119.
  16. ^ Brook, Stephen (1992). Claws of the crab: Georgia and Armenia in crisis. Sinclair-Stevenson. p. 354. ISBN 9781856191616.
  17. ^ Suny, R. G. (2004). "Soviet Armenia, 1921-1991". In Herzig, Edmund; Kurkchiyan, Marina (eds.). The Armenians: Past and Present in the Making of National Identity. Routledge. p. 120. ISBN 9781135798376.
  18. ^ "Martiros Saryan Is Dead; Armenian Painter Was 92". The New York Times. 7 May 1972.
  19. ^ Editorial Board (1972). "Մարտիրոս Սերգեյի Սարյան [Martiros Sergeyi Saryan]". Patma-Banasirakan Handes (in Armenian) (2): 286–287.
  20. ^ Derluguian, Georgi; Hovhannisyan, Ruben (Fall 2018). "The Armenian Anomaly: Toward an Interdisciplinary Interpretation". Demokratizatsiya. 26 (4): 454. ...a small Soviet republic that was linked to a parade of world luminaries and modern icons of Armenian pride: the composer Aram Khachaturian, the painter Martiros Sarian, the astrophysicist Victor Ambartsumian, the mathematician Sergei Mergelian, and the chess champion Tigran Petrosian, among others.
  21. ^ Ghazarian, M. (1961). "Լենինյան մրցանակի շնորհում Մարտիրոս Սարյանին". Patma-Banasirakan Handes (in Armenian) (2): 264–267.
  22. ^ Nersessian, Vrej (1993). Armenia. Clio Press. p. 181. ISBN 9781851091447. He also studied Armenian miniatures and the works of the greatest Armenian artists, above all, Martiros Saryan.
  23. ^ Richardson, Dan (1995). Moscow: The Rough Guide. Rough Guides. p. 213. ISBN 9781858281186.
  24. ^ "Painting - Armenian Collection". gallery.am. National Gallery of Armenia.
  25. ^ "Martiros Saryan's early landscape was sold for £ 623,7 thousand in Sotheby's auction". Armenpress. 27 November 2012.
  26. ^ Gleadell, Colin (5 December 2006). "Art sales: Russian boom is the genuine article". The Daily Telegraph.
  27. ^ Adalian, Rouben Paul (2010). Historical Dictionary of Armenia. Lanham, Maryland: Scarecrow Press. p. 191. ISBN 978-0-8108-7450-3.
  28. ^ Dorontchenkov, Ilia, ed. (2009). Russian and Soviet Views of Modern Western Art, 1890s to Mid-1930s. Translated by Charles Rougle. University of California Press. p. 5. ISBN 9780520253728.
  29. ^ Chilvers, Ian; Glaves-Smith, John, eds. (2009). "Blue Rose". A Dictionary of Modern and Contemporary Art. Oxford University Press. p. 86. ISBN 9780199239658.
  30. ^ Parsons, Thomas; Gale, Iain (1999). Post-impressionism: The Rise of Modern Art, 1880-1920. NDE Publishing. p. 299. ISBN 9780968474969.
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