The present article intends to “read” and analyze the sculptural formulations of the period when Hakob Gurdjian, a foreigner who had just conquered the shores of France, had been greatly touched by the French artistic thought, gradually becoming part of the context of French art. Appearing in exhibitions that covered a wide range of important and public influences, Gurdjian also made his theoretical contribution to the understanding of the French sculptural atmosphere. The presented French-language manuscript, titled “My Reflections on the Sculpture” authored by Hakob Gurdjian, was of great importance, as it revealed from what point of view and with what kind of inclusion he saw the sculpture and how he perceived the material, the form, and its embodiment.

KeywordsHakob Gurdjian Shushi French-Armenian Art Armenian Sculpture Portrait Busts Art Theory Foreign

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

Paruyr Sevak’s figure as a symbol of the Armenian intellectual – perpetually engaged in the quest for truth–has been repeatedly reflected in the works of Sargis Muradyan (1927–2007), People’s Artist of the Republic of Armenia. An examination of the series of portraits that Muradyan dedicated to Sevak over the years, along with the thematic compositions and frescoes, reveals their artistic role and significance within the broader development of Armenian national fine arts in the 1960s and 80s. During that period, a novel vision, characterized by psychological depth and a symbolic, multilayered nature, was being formed, according to which Sevak’s portraits were consistent with contemporary artists’ interpretations of the intellectual’s figure. We’ve drawn parallels among the portraits by Hovhannes Zardaryan, Eduard Isabekyan, Ara Bekaryan, which – similar to Muradyan’s work - reflect inner tension, spiritual quest, and national consciousness.

KeywordsSargis Muradyan Paruyr Sevak Armenian fine arts portrait fresco drawing sketch