P. 56. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximillien de Lafayette. The Globe Weekly News

HISTORICAL DEVELOPMENT OF ARMENIAN MODERN ART

By Maximillien de Lafayette

HISTORICAL PERSPECTIVE: UNDERSTANDING ARMENIAN DIASPORA IN THE LAST HUNDRED YEARS (1895-1994)

Photo: Armenian Christian leaders hanged by the Turks without trial. The scene was regularly repeated several times a week.

To fully understand the essence and spirit of Armenian art in the homeland and Diaspora, a brief glance at the history of Diaspora in the last hundred year (1895-1994) is necessary. At the end of the 18th century and at the beginning of the 19th century the political and geographical role of the Russian Empire becomes more dominant and active in the internal affairs of Armenia. Russia won the 1804-1013 war against the Persian empire. Consequently, Russia gained many territories, and new lands, including the Caucasus, Gandzak khanates and Karabagh. In October 12, 1813 at the Artsakh fortress (Gullistant), Russia sealed the future fate of the region, including the whole Caucasus, Transcaucasia, Asia Minor and Armenia. This arrangement did not last long, for a new Persian-Russian war threatened the area, once again in 1827-1828. Fortunately, the war ended soon and the Turkmenchie Treaty was signed on February 18, 1828.

Photo: Homeless Armenian Christian children dead in the streets or intentionally left to die in the streets, because the Turkish troops have already killed their parents. Thousands of Armenian children became orphans and homeless. Almost 98% of them died of starvation. Those who survived were shot by the Turks. A very few number of those ill fated children survived and were rescued by Armenian families who later fled the country and sought refuge in Lebanon, Syria, Iraq and surrounding areas.

This treaty dictated that Orbudad, Nakhichevan Khanates and Yerevan will be annexed to the Russian empire. In other words, the total eastern region, land and territories of Armenia were “given” to Russia. Once again, history is repeating itself by depriving the brave and desperate people of Armenia from their freedom and a patriotic autonomy. If Armenian internal affairs during the war years were chaotic and the state of mind of the Armenian people could not reach a state of tranquility and peace, ipso facto, ART could not develop and prosper. Armenian art resources, products, material and tools were limited. It is understood that political instability creates artistic instability, and this was exactly the case in Armenia during the Russian-Persian wars and the partition of its land among foreign hostile powers. By the end of 1829-1830, the whole eastern part of Armenia was lost to the Russians. To render the situation worse, in 1840, what’s left from Armenia in the eastern region was lost or given, once again to foreigners. In that year, the Russian empire created the Georgean-Emeret Gubernia , a geographico-politico division of Transcaucasia. The Georgean-Emeret Gubernia emerged in Tiflis, and the Caspian Gubernia emerged in Shemakh. Armenia was completed divided and partitioned. Political turmoil put art to rest. In December 9, 1867, the Russian empire divided Transcaucasia into 5 gubernias: Yerevan, Tiflis, Kutaisi, Baku and Yelizavetpol. The eastern part of Armenia became territorial part of Yerevan Gubernia until 1918. Between 1914 and 1918, Armenia lived in nightmares, for those years were the four bloody years of the domination of Armenia by the Turks who slaughtered more than one million Armenians in a systematical manner known to the world as the Armenian Genocide.

P. 57. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximillien de Lafayette. The Globe Weekly News

By the end of the nineteenth century, the Armenian communities outside the Ottoman and Russian empires, with the exception of Iran and Egypt, have blended into foreign cultural, social and religious societies or, lost their ethnic Armenian identity and historical heritage. Consequently, Armenia’s political, religious, economical and artistic influences were almost annihilated. In those perturbed conditions, Armenian art had no place or direction for its survival. For centuries, Armenia suffered on the hands of foreign hostile powers such as the Babylonians, the Greeks, the Mongols, the Turks, the Persians, the Arabs, and in modern days, by Soviet Russia. The massacres of 1895-1896 and hostilities toward Armenians by Turkey’s Sultan Abdul-Hamid forced many Armenian men and women of art, humanities and science to flee the homeland. Fearing for their lives, thousands of Armenian families emigrated to the Middle East, Near East, Europe and the United States, leaving behind them, their homes, lands, assets, and most precious possessions. What they brought to the new world (s) were their talents, creativity, memories of their illustrious historical past, the determination to survive, hope in tomorrow, sorrow, pain and a national ethnic pride. The Armenian Genocide was catastrophic. It created hundreds of thousands of refugees. Although, it is true that at the end of the second world war in 1918, many Armenians returned to their homeland, a greater number of Armenian refugees remained in a state of despair outside Armenia. They were scattered all over the world. Once again, history repeats itself. With Stalin in power, thousands of Armenians were deported by Soviet Russia between 1936 and 1939. However, between 1945 and 1948, approximately 125,000 Armenians refugees in foreign countries including outstanding artists repatriated in Soviet Armenia, followed by massive waves of Diasporan Armenians between 1949-1951 and 1953-1966. During all those years, Armenian art did not really flourish in occupied Armenia. Armenian art found birth and development abroad, especially in Europe, and more particularly in France.

Photo: Heads of Armenians massacred by the Turks are shown as trophies.

By 1984, almost two million of the post-war years Armenian repatriates have already emigrated to Canada, Australia, the United States, Egypt, Syria, Lebanon, Cyprus, Greece, France, Austria and few went to Italy and Germany. Today, there are more than seven millions Armenians who live outside Armenia, while there is only three million Armenians who live in the homeland. Ironically enough, those who lived abroad are more prosperous and successful than their compatriots in their beloved homeland. Ironically too, the greatest Armenian artists who made their mark on world art and world art history were the Diasporan Armenian artists!

THE ARMENIAN GENOCIDE: HISTORICAL PERSPECTIVE

In 1915, the brave Armenian people suffered a terrible human tragedy. While Europe was ravaged by world war one, the Turks began to slaughter the Armenian population in Armenia and in Turkish cities and towns. It was a massive Genocide. More than one million Armenians perished on the hands of the Turks. Fortunately, the Armenian’s victory at Sardarapat’s battle in 1918, near Yerevan, saved the remaining of the Armenian populace, thus enabling the Armenian survivors to establish their first 30,000 square kilometer state. April 24, 1915 marks the darkest day in Armenia's 3,000 year of majestic and painful history. A day that has left wounds in the hearts of Armenians worldwide and a stigma of infamy on the forehead of Turkey. On that bloody day, the Ottoman Turkish government began the systematic annihilation of the Armenian people; the genocide of the Armenian people. By 1922, 1.5 million Armenians have been slaughtered. I am not an Armenian, therefore, nobody can accuse me of being biased or motivated by an ethnic interest or deep rooted feeling of vengeance. As a matter of fact, I began and continued this 3 year project on my own, without the help of any Armenian; government, official, individuals and organizations alike. I did it on my own, because I am a historian who believes in accuracy and dignity in writing the world history books. The genocide did exist. The genocide destroyed families, friends, loved ones, the lives of millions of Armenian children, mothers, sisters, grandmothers, aunts, helpless elderly…The world is just watching and the world is doing nothing to help the Armenian cause. Within my limited resources, I will help, even at the expense of my own life.

P. 58. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximillien de Lafayette. The Globe Weekly News

THE PAINTING OF DIASPORA

Photo: Immortality, by Hovsep Pushman.

Following the human tragedy of Western Armenia, from 1920 onward, the Armenian Diaspora concept became a firm universal reality. Armenian artists who lived and worked in various eastern and western countries were destined to become a vital part of the art, science and humanities of their adopted countries. The first generation of Diasporan Armenian artists were unable to forget the traditions, customs, history, folklore, art and psychology of their native land. Nostalgia, struggles, fear, painful memories, losses of possessions, homes, lands, families members and beloved one were deeply rooted in their hearts and their minds… and most certainly in their art, their canvases, their sculpture, their music, their theater, even in the very daily way of life. In most cases the intensity of the national sentiments nourished with pride, religious fervor and determination survived and developed parallel to the greatness of their talent. Soon, many Diasporan artists in the United States and France will make their mark on world art history and attain artistic immortality. European art of painting strongly and vividly influenced the pioneers of Armnian contemporary art. Almost, all the most famous Armenian painters studied art in Europe and developed their talents and craft on the hands on European masters, and particularly French, Italian and Russian master painters. Among those distinguished Armenian painters were: Aivazovsky, Ervand Kochard, Tigran Polat, Gevork Bashinjaghyan, Assadour Bedzdiguian, Carzou, Vardkes Sureniantz, Jansem, Edgar Chahine, Yeghishe Tatevosyan, Zakar Zakarian, Sarkiss Khatachadourian, Charles Atamian, Stepan Aghadjanyan, Panos Terlemezian, Hovsep Pushman, Gevork Bashinjahian, Charles Atamian, Vartan Mahokian, Panos Terlemezyan and hundreds of other notable artists. Many Armenian artists have studied in Paris at the prestigious Julian Academy, in private ateliers and studios on the hands of illustrious French artists. At that time in France, the esthetic concepts of art in painting and sculpture were based on “realism”. The most illustrious academy of art in Europe was Academie Julian, the corner stone of “Realism” cemented by Gustave Coubert who deeply influenced French, European and Armenian artists. Thanks to Coubert’s influence, many young Armenian artists turned into pioneers of the neo-realism and neo- romanticism school and methods of art in painting, sculpture and graphics, such as: Edgar Chahine, Vartkes Surenyants, Sarkiss Katchadourian, Egishe Tadevosyan, Raphael Shishimanian, Yervant Demirdjian, Essaian, Tigrane Essaian, Jean Alhazhian, Armina Babaian, Arshak Fetvadjian, Melkon Kebadjian, Armenag Missirian (Armiss), Puzant Topalian, Zareh Moustafian, Gabriel Harentz, Richard Jeranian, Papaz, Berdj Kosdanian, Ardavatz Berberian, Arshag, Kmayak Hagobian, S. Agadjanian, Grigor Sharbabchian and P. Terlemezian. This list should include Armenian-Lebanese artists such as: Boghos Guiragossian, Armenag Missirian, A. Berlian, V. Barsoumian, H. Torossian, J. Kazandjian, A. Alecian, Arshag and T. Daderian. In Italy, Charles Atamian excelled in depicting themes of seashores, little children and breezes. Gregorio Sciltian became the pillar of neo-realism and known for his flowers, fishes, vegetables and plants paintings. In Romania, Aram Gharibian, Bardough Vardanian and Hrant Avakian became a household name. In Russia, influenced by the “peredizhnink” concept, magnificent Armenian artists made their mark on the landscape of “realism”, to name a few: Vrtanes Akhikian, Garabet Chirakhian, Davit Okroian, Khachatur Ter Minasian, Harutioun Shamshinian and Gevork Gabriellian.

The Armenian art community in Egypt included famous Armenian artists such as: Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Puzant Godjamanian and Simon Samsonian. In other parts of the world, a considerable number of Diasporan Armenian artists prosper, to name a few: Narutiun Minassian, Sarguis Achdjian, Arsene Tatosian, Assadour Baharian, Onning Atamian and Edman Ayvazian.

Photo: PAINTING BY HOVSEP PUSHMAN (1877-1966)

THE TIFLIS GROUP

Armenian artists in Tiflis were active, and thanks to their commitment, the first Armenian Art Association was formed in 1915 in Tiflis followed in 1923, by the Association of Armenian Painters in Erevan and two art schools in Yerevan and Leninaka. The leader of the Tiflis group was Alexander Bazhbeul-Melikian, a very unique artist living and metamorphosing in his own universe. His inspirational source were the woman figure, her body, her beauty and her “curves”. He is unique, for he invented a special world for his worshiped goddesses and gracious heroines who freely flirted on flamboyant and radiant backgrounds. Among the most illustrious Tiflis group artists were: The great Martiros Sarayan, Hakobjian Gharibjanian, Panos Terlemezian, Hagop Kodjoyan, Yervant Demirdjian, Sarkis Khatchadourian,

P. 59. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximillien de Lafayette. The Globe Weekly News

Photo: PAINTING BY STEPHAN NERCESSIAN (1814-1884)

A whole universe of magnificent Armenian artists emerged in the Diaspora. They were obsessed by the remembrance of their lost neighborhood, friends, childhood, Mount Ararat, Lake Sevan, Armenian churches, the concept of “light”, the Katchkars and Armenian religious themes. This nostalgic obsession gave birth to the new Surrealism movement in Armenia and abroad. It was the surrealism of Armenia, and not Dalli’s surrealism, for it was nourished with tortured souls, fear, sorrow, memories of their struggles against the Turks and the loss of the freedom of their beloved country. It was a humanistic and nostalgic surrealism born out of inner human feelings and not from” phantasmagorical” visions. "I was born in Asia Minor," said the famous Armenian-American writer William Saroyan, "and therefore in my head the real and the allegorical are intermixed." Among the most visible masters of that movement were: Leon Tutundjian (The founder of Abstract Surrealism), Arshile Gorky (Vosdanik Manuk Adoyan) and Carzou (Karnik Zulumian).

INFLUENCE OF THE ARMENIAN DIASPORA CULTURE

Photo: The monastery of Tate.

The picture of present-day Armenian art would be incomplete without a glance at the culture of the Armenian Diaspora. Nowadays, a great number of Armenian artists live and work all around the world. Although, their work now essentially belongs to their adopted countries, their style and artistic evocation maintain straight links to Armenia, its history and tradition. Among the most remarkable Diaspora artists were Carzou (Garnik Zulumyan), Arshile Gorky, Vardkes Surenyantz and Grikor Khandjian. However, a considerable number of Armenian painters who perfectly blended into the culture of their adopted countries tended to free themselves from an Armenian ethnic art conformity. Most certainly, they developed their own European style but, deep down in their heart and the intimacy of their colors, their artistic sensitivity and patriotic visionary nostalgia toward Armenia were never dormant. Some of the most famous ones were Zakar Zakarian, Charles Atamian, Hovsep Pushman and Edgar Chahine.

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