Hmayak Hakobyan (1871–1939), as a representative of Armenian realist painting at the turn of the 19th–20th centuries, devoted a special place in his oeuvre to the subgenre of the self-portrait. The artist’s six self-portraits (painting and drawing), preserved in the collections of the National Gallery of Armenia, serve as a unique key for revealing the stylistic characteristics of his works and the impact of the dramatic events of the period on his inner world. This article aims to study Hakobyan’s self-portraits through chronological and comparative analysis, highlighting his application of the principles of academic realism and his progression from the depiction of external likeness to psychological self-examination. For Hmayak Hakobyan, the self-portrait is a means of deeply analyzing his own image and revealing his worldview through art, even serving as a kind of diary that reflects human psychological states and stages of life. The artist’s self-portraits represent not only his personal journey but also his emotional world and creative explorations. The painter remains consistently faithful to the artistic principles of classical realism, employing a restrained yet harmonious palette of brown, chestnut, black, white, and gray tones. His self-portraits are executed with high technical skill, perfect masterly, and adherence to academic principles, characteristic of realist painting. They clearly convey the artist’s mood, inner world, and way of thinking. Drawing on the traditions of Russian realism (Repin) and European masters (Rembrandt), the painter elevated the self-portrait from a mere image to a philosophical exploration of the human soul. This approach brought a new depth and vitality to Armenian realism. Hakobyan’s art is free from Dürer’s symbolism, yet it is imbued with a pursuit of self-observation and physical precision.

Keywordsself-portrait Hmayak Hakobyan realist principles self-expression drawing painting self-examination

Mural painting is one of the most significant forms of monumental art, characterized by its organic and conceptual relationship with the architectural environment and its capacity to shape the artistic integrity of space. Executed through techniques such as fresco, tempera, glue-based paint, encaustic painting, and oil, mural painting is inherently intended for long-term existence and functions as a bearer of historical and cultural memory. The origins of this art form date back to prehistoric rock paintings and later developed extensively within ancient Near Eastern and Greco-Roman civilizations, where it acquired religious, ideological, and symbolic meanings. This article is devoted to the study of murals created in public spaces by Hovhannes Minassian. Although the majority of these works have not survived over time, they occupy an important place in the history of Armenian monumental painting, reflecting the artistic thinking and spatial-decorative explorations of the 1960s. The research is based on preserved photographs, archival materials, and contemporary testimonies, aiming to reconstruct the artistic and historical-cultural significance of the lost murals. This approach makes it possible to reassess Minassian’s contribution and to emphasize the crucial role of monumental art created in public environments in shaping the cultural life of the period.

KeywordsHovhannes Minassian mural painting fresco fine arts monumentalism heritage painting