Edward Seago (Edward Brian (Ted) Seago) Watercolor.

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Edward Seago (Edward Brian (Ted) Seago) Watercolor.



Fountain of the four rivers, Piazza Navona, Rome



In our community published a post with an oil painting artist Edward Seago:

English impressionist painter of the twentieth century. Edward Brian Seago.

This post is dedicated to watercolor painting of Edward Brian Seago.



Edward Brian Seago (Eng. Edward Brian Seago) - English impressionist painter of the twentieth century. - Painter and watercolorist.
Edward Seago was born to a coal merchant in Norwich in 1910, he was a self-taught artist (he had some help Alfred Munnings and Bernard Priestman), however, over time it has been recognized the British Royal House (whose members eagerly bought his works ) and the Aga Khan Foundation.



Early morning, Honfleur, France.

 At the age of 14 years Seago won the prize of the Royal Society of Picture, since he knew what he wants to do, despite the disapproval of his parents. At age 18 he joined the show Bevin, a traveling circus which he visited in the whole of Britain and Europe. Heart problems identified at the age of 7 years, haunted him all his life, he even had to resort to deception to join the Army during World War II. He was appointed Major of the Royal Engineering and technology advisor for komuflyazhnoy Marshal Auchinleck (with whom they have become good friends).





the basin honfleur.

Edward Seago can be safely prichilit the largest Impressionists later time. His land and sea views (including the city) were the fruits of inspiration that he drew constantly on the move. For this same inspiration he traveled around the Earth (in the literal sense) from Singapore to Antarctica (by the way antakticheskoy expedition in 1956 he was at the invitation of Prince Philip).





THE BRIDGE, HONFLEUR



During his lifetime, his popularity was so great that those who wanted to buy his works were forced to stand in queues for various annual exhibitions around the world (with the exception of Queen Elizabeth - the Queen Mother).
Seago died in London in 1974 as the fulfillment of his last will, he demanded that the third part of his work was destroyed. Anyway, after that there are about 19,000 watercolors and oil paintings 300, which sold around the world. Currently, work Seago "smartly" sold at auction leading auction houses in the world (such as Christie's, Sotheby's and Bonhams).





Drying sails, Honfleur.












Bridge Near San Zanipolo (SS. Giovanni e Paolo)










Venice.








Italy - Outside St Peter's, Rome





Seaside Cafe.











Pont Alexandre III Looking Towards Les Invalides, Paris





Richmond River Scene.





Left Bank Bookstalls, Paris











QUAI ST. ETIENNE







Yacht on the Stocks





Evening at aberdeen, Hong Kong.





Fishing Boats, Ponza.




Landscape with lake, hills and fort beyond





The Pool, Midsummer.

















Entrance to the Wood.





The Elm Tree.





The flooded marsh.





Thames Barge




Hong Kong.





low tide.





The Harbour Basin, Enkhuizen.





Thames Barges.





The Ferry Boat, Duclare.





Spanish Coast, Torremolinos.





Moroccan Shepherd





Oxen by The Irrawaddy.




Cattle on the Marshes, Norfolk.



Norfolk for many Englishmen associated with the name of Edward Seago. Here he was born, where he spent most of his creative life, here he created the most famous works. Traditions Norvchiskoy art school, representatives of which are Kotman And besides, there were significant development in the works Seago. His work has a broad stylistic range, that perhaps makes it popular product worldwide.

All childhood and part of his youth, Edward suffered from heart disease. He could not go to school and had a lot of time to spend at home. Instead of training, he made sketches of the bedroom window. Seago parents were opposed to his passion for painting. They tried to convince him that a career in business is more suitable for its future. This opposition, on the one hand, it was painful for him, but on the other hand, allows him to use the disease in order to do what he likes, ie draw. He was largely self-taught, although they did not refuse tips artists, if felt that they could learn something. Seago received additional forces to communicate with those who supported his desire to overcome the lack of confidence in the children's creativity. Popularity came to Edward rather late. Seago has always suffered from a lack of attention on the part of critics to his creativity.

In the period before World War II Seago constantly in search of new experiences. He had the talent to easily make friends, who helped him gain recognition in various circles of society pre-war England. At age 18, Seago joined a traveling circus Bevin, communication with whom he maintained over the years. As well as Laura Knight and Alfred Munnings, he was captured by the glamorous and bohemian life of the circus. During this period of his life Seago acquainted with one of the most influential of his patrons - Henry Mond, 2nd Lord Melchettskim. He was invited to the country estate Melchett, Vudfols, where numerous receptions met many celebrities - George Bernard Shaw, HG Wells, Augustus John and others.

Lord Melchett patronage gave the artist financial independence; he was treated like a member of the family, he was asked to remain in Vudfolse as long as he wishes, encouraged to expand his creative horizons. His numerous trips abroad pushed out of his life and athletic circus paintings, which he used to earn a living. And with a trip to Venice Edward has a new all-consuming interest - ballet. In 1937 he made a trip to Monte Carlo and New York, following a ballet troupe. This travel and friendship with Anton Dolin gave him the opportunity to write the greatest dancers of the world. The result of this creative period was the creation of the book "A Tribute to the ballet" (1938), in collaboration with the poet John Masefield. Edward Seago work were used as illustrations for this edition. Paying for good to his attitude on the part of Lord Melchett, Seago wrote two large family portrait in 1935 and 1937. On one of the portraits depicted Henry Mond, son of Lord Melchett, who grew up in front of the artist, becoming later his closest friend.

The outbreak of war Seago serves the Royal Engineers and becomes invalid in 1944 Field Marshal Alexander once invited him to Italy to capture the Italian campaign. There he met many leading politicians such as Churchill, Macmillan and George VI, who later became his patron. This order is considered a watershed in his artistic career. After the war, Seago already written, mostly landscapes, though, and continued to paint portraits. His works have been exhibited wartime Colgnahi Gallery in 1945. The exhibition was such a success that shows his work became an annual event until 1967. This exhibition was part of the art world. The queue was formed long before the opening of the exhibition hall, and the sale of numbered directories in one hand was the only way to avoid chaos. The exposition of each of these shows were completely sold out within hours after their discovery.

Seago often travels abroad. Apart from Portugal, France and Italy, which he visited in the 50s, Edward performs with the Duke of Edinburgh in 1956-57. extensive touring, including Australia, West Africa and Antarctica. Then, in 1962, Seago sent to the Far East. By the time the artist changes his technique of writing landscapes. He refuses to create a landscape with nature in favor of studio work on pencil and color sketches. Seago explains this by saying he did not want to be perceived as a surveyor. The result was a generalization of the image through the refusal of detail of the landscape that helped create the special atmosphere of the work. Works written during a trip to the Far East, is well illustrated by his new technique.

Despite numerous trips abroad, Seago never stopped writing his native East Anglia, adapting impressionistic techniques to the traditions of English landscape painting. In his works, you can catch the influence of Turner, Constable and Boudin. In 1946, n. He was elected to the RBA, in 1957 - ARWS and RWS in 1959. His works were exhibited at the Royal Academy, in other British associations exhibition at the Paris Salon. Solo exhibitions were held in many other cities, including New York, Toronto, Oslo and Brussels. Source

~ French Impressionist Gustave Caillebotte ... ~

~ French Impressionist Gustave Caillebotte ... ~


Hello!







When we speak of impressionism, in memory arises "Famous Five" French painters: Monet, Renoir, Degas, Camille Pissarro, Sisley AG. Due to the Hermitage and the Pushkin Museum. Pushkin, for us it is the major Impressionist painters. When it became accessible museums in Europe, added to the list the names of Manet, E. Boudin, B. Morisot, Cassatt M., F. Basile.

Today there was an occasion to talk about another outstanding Impressionist Gustave Caillebotte about ...

For me is still a mystery why the work of this great master for many years was forgotten ...
The original and talented artist who has fully adhered to Impressionism almost immediately
after their first joint exhibition, and died a few years before the time when Impressionism finally
broke, pour mothballs, pompous academic and came forward ...









Gustave Caillebotte was born on August 19, 1848 in Paris in a family that belonged to the higher strata of Parisian society. His father, Martial Caillebotte (fr. Martial Caillebotte) (1799-1874), inherited the textile industry, he also served as a judge in Senskom Tribunal for trade. Martial Caillebotte twice widowed before married Gustave mother, Celeste Defraigne (fr. Céleste Daufresne, 1819-1878). In addition Gustave they had two more sons - Rene (1851-1876) and Martial (1853-1910).





Caillebotte was born in the house in Paris Rue du Faubourg-Saint-Denis and lived there until 1866, until his father built a house on the street de Miromesnil in Paris. Gustave family spent a lot of time in the summer in Hyères - city on the river of the same name about 15 km south of Paris, after in 1860 Martial Caillebotte bought a mansion. Around this time, Gustave began to paint. Many paintings Caillebotte depict members of his family and daily life. On the canvas, "the young man at the window" (1875) chronicled Rene in a house on the rue de de Miromesnil, and "orange tree" (1878) depicts a Martial cousin Zoe in their garden at Yerres; on "Portraits in the countryside" (1875) depicts a mother Caillebotte, his aunt, cousin and friend of the family.




Caillebotte completed his law degree in 1868 and obtained a license to practice in 1870. Shortly thereafter, he took part in the Franco-Prussian War. After the war, Caillebotte visited the studio of artist Leon Bonnata, where he studied painting seriously. In 1873, Caillebotte entered the School of Fine Arts, but apparently, he studied it seriously enough. At the same time, Caillebotte met and became acquainted with several artists working outside the official French Academy, including Edgar Degas and Giuseppe de Nittis, and attended the first Impressionist exhibition in 1874 (but did not participate in it).





After his father died in 1874 and his mother in 1878, Gustave received a solid state, which allowed him to paint without worrying about selling their work. He also has the opportunity to participate in the financing of Impressionist exhibitions and support his colleagues and fellow artists (including Claude Monet, Auguste Renoir, Camille Pissarro and others.), Buying their work as well - at least in the case of Monet - paying rent studio. In addition, Caillebotte used his fortune to finance a variety of hobbies, which he did with great enthusiasm, including stamp collecting (his collection is now in the British Museum), orchid breeding, construction of yachts, and even textile design (the women in his paintings " Madame Buasser Knitting "(1877) and" Portrait of Madame Caillebotte "(1877) probably worked on designs created Caillebotte).


Caillebotte wrote in the style of realism. Like its predecessors, Jean-Francois Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte wanted to portray reality as it is and as he sees it, hoping thereby to reduce the inherent drama of painting. He also shared the commitment of the Impressionists in the transfer of reality. Caillebotte wrote many family scenes, interiors, and landscapes in Yerres, but his most famous paintings have become canvases devoted to Paris, for example, "parquet floor" (1875), "Bridge of Europe" (1876) and "Rainy Day in Batinolskom quarter "(1877). These paintings aroused controversy because of their uncomplicated, often very simple story of profound and exaggerated perspective. Tilted surface common to these paintings is characteristic of Caillebotte's works, which arose under the influence of Japanese graphics and the new technology of photography.




Truncation techniques and increase occurring in the works of Caillebotte, possibly the result of his interest in photography. In many works Caillebotte uses a very high angle view, such as the image on the balconies ?Vue des toits, effet de neige? (1878) and ?Boulevard vu d'en haut? (1880). In the picturesque career Caillebotte came a sharp decline in the 1890s. When he stopped writing large-format paintings and exhibit their work. In 1881 he acquired the property of the estate in Petit Gennevilliers on the banks of the Seine near Argenteuil and moved there to live in 1888. He devoted himself to gardening and construction of racing yachts, spent a lot of time with his brother and a friend of Martial Renoir, who often stayed at Petit -Zhenvile. According to many sources, shortly before his death he had an affair a woman much younger than him, Emilie Schlauch, but this is no official evidence.
Caillebotte died on February 21, 1894 while working in his garden at Petit Gennevilliers. He is buried in Pere Lachaise cemetery in Paris.
Caillebotte's reputation for a long time as a philanthropist was significantly higher than its reputation of the artist. Seventy years after his death, art historians began to reconsider his artistic legacy.



In his will, Caillebotte presented a large collection of paintings to the French government. This collection included sixty-eight paintings by various artists: Camille Pissarro, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Edgar Degas, Paul Cezanne and Edouard Manet.

At the time of death, Caillebotte Impressionists were still not in favor with esteblishmenta of art in France, where there is still dominated by representatives of the academic areas, particularly in the Academy of Fine Arts. Caillebotte realized that the masterpieces of his collection is likely to disappear in the "attics" and "provincial museums". Therefore, he bequeathed his collection to place in the Luxembourg Palace, where the work of contemporary artists, and then in the Louvre.




Unfortunately, the French government did not agree to these terms. In February 1896 it finally reached an agreement with Renoir, who was executor of Caillebotte, according to which thirty-eight paintings were housed in the Luxembourg Palace. The remaining twenty-nine paintings (Renoir one took as payment for his services as executor) were offered to the French government has twice - in 1904 and 1908., And both times was refused. When the government finally attempted to require them in 1928, this widow's son resisted Caillebotte. Most of the remaining works were purchased by Albert C. Barnes, and are currently owned by the Barnes Foundation in Philadelphia.



Forty of Caillebotte's works are now in the Museum of Orsay. His painting "The man on the balcony, Boulevard Haussmann," written in 1880, was sold in 2000 for more than 14.3 million US dollars.


Man on the Balcony, 1880























































There are a lot of very "tasty" works by the artist, please:

To remember ... ~ Artist Martiros Saryan ... ~

To remember ... ~ Artist Martiros Saryan ... ~


Hello!



 Long wanted to put you one of the most unique music in this world - the music of Armenia ... This is a very special phenomenon - as if she were some sort of depths of time, where it was stored and kept still, his open heart ...
And then, finally, the stars and planets were formed in the following sequence, that today we will enjoy the creativity of the largest master of Armenian painting of the XX century Martiros Saryan, accompanied by his own music ...

And who would argue with that?


At the spring. Fairy Tale. 1904
Watercolor on paper

Martiros Saryan (1880-1972)

Stone-light. Fairy Tale

Of literary experience of young Saryan ...

    There are white stone in the sacred grove, on the stone is white - stone-light. In the sacred grove of people came to listen to tales of the land, listened to the strange rustling leaves and listened to the pale light of the stone. Dark at night came to a priestess white stone of light and echoed insanely magical dances. Dark at night come black priestess - they understand the light. Silent ...

    Man is a microscopic particle of the universe embedded in the human "I" is the universe itself; Only through human nature realizes his greatness and pettiness.

    For each person there is a beauty peculiar to him, he realizes that he lives.

    The world is beautiful.

    In man there is everything, everything he can find in himself, if he found the keys of the mysteries of his soul.

    A man must believe in the best, he can not live without faith ...



Flowering Mountain (In the gorge Akhurian). 1905
Watercolour, gouache






Armenian and Soviet landscape painter, graphic artist and stage designer.

Martiros Saryan was born 16 (28) February 1880 in the patriarchal Armenian family in the town of Nakhichevan-on-Don (the "New Nakhichevan," now in the range of Rostov-on-Don). In 1895 he graduated from City College. From 1897 to 1904 he studied at the Moscow School of Painting, Sculpture and Architecture, including workshops Valentin Serov and Konstantin Korovin.

The family had nine children - six brothers and three sisters. Martiros - the seventh in order of seniority. Father of the artist Sarkis Mkrtichevich mother Ustiane Bagdasarovna owned a small plot of land in a remote area near the town, lived very poorly. On a farm childhood home of Martiros. He recalled: "In the steppes of Azov region, close to the river Sambek reedy flowing through green meadows, slightly above its banks on the hillocks, my father built a house of adobe bricks, covered it with a roof of reeds, and we began to live in this lonely cabin in the wilderness ... The majestic sky and wide steppe, with hillocks and "mirage mounds" on the horizon, given the opportunity to watch all the phenomena of nature ... the tall grass with an infinite number of colors, flying over them with millions of multi-colored butterflies and scurrying underfoot or basking in the sun lizards. The bright sun, until exhaustion on hot days ... the child's perception of it all indescribably grand and fantastic ... "



Flowering trees. 1922
Canvas, oil.


C childhood absorbed the future artist atmosphere created by the Armenian Apostolic Church. In adolescence, Sarian few years he sang in the church choir, and his schoolteacher was the future Catholicos of All Armenians Gevorg VI. Until the end of his days the artist remembered songs by major authors of the Middle Ages, and the Christian worldview and moral integrity have always been decisive for him.

    In 1887 Martiros moved to the city of Nakhichevan-on-Don, where he lives with his older brother Hovhannes. Nakhichevan those years - one of the centers of Armenian culture, history and traditions which Martiros Saryan versatile, carefully and with a sincere passion studied since the adolescent years. However, he was fluent in Russian - it was his second mother tongue.

    For fifteen years Martiros Saryan ends of the Armenian-Russian general educational city school.



Tree in bloom. 1907
Watercolor on paper. 24 x 33 cm

Saryan Museum


The first painting passion begins at 15 years of age when Saryan works in Nakhchivan city office dissemination of magazines and newspapers. "In my spare time I enthusiastically read the newspapers and magazines, looking at illustrations ... Among the visitors sometimes come across interesting types. I sat in the back office, in the left corner of the table and began to draw, of course, so that visitors did not notice anything."

    In 1897, after passing the entrance examination, entered the Moscow School of Painting, Sculpture and Architecture. Education was led by the great masters of Valentin Serov and Konstantin Korovin. "We wanted to take everything from school, from our teachers: Kasatkina, Arkhipova, Pasternak, A. Corina., Which is in the museum - Rumyantsev and Pavel Tretyakov. Did your favorite picture to the smallest stroke. I wanted to dare - to this fixed her and the era, breaks, impatient ... In nine hundred years in school were reformed. New teachers were involved, including and Valentin Serov taught by full-scale class year. Next year, special workshops were opened: the portrait studio led Valentin Serov and Konstantin Korovin. "



Wildflowers. 1910
Tempera on cardboard. 60 x 67 cm

Krasnodar Regional Art Museum. FA Kovalenko

 In the months of summer holidays (1900-1902), together with a friend in the college, a student of architectural classes Gevorg Miansaryanom Martiros Saryan made a trip to the Caucasus and Transcaucasia. "My trip to the Caucasus through Vladikavkaz on the Georgian Military Highway, through Tbilisi, Yerevan Yerevan was a terrific event for me. It is predetermined, we can say, my future path ... Azov steppes with their different tribes residents - Russian, Ukrainians, Armenians , Greeks, colorful southern city full of excitement Moscow life, the School of Painting, Caucasian journey - a lifetime, a huge variety of experiences, emotions, those episodes, the center of which for me has become an ancient Armenia ... Mountain ranges with sparkling snow-capped peaks, rocks , canyons with turbulent rivers, hills with herds of sheep, stretching into the distance piled up on each other Blue Mountains; herds of buffalo, lazily grazing in the lowlands or bathing in muddy ditches, camel caravans moving along the yellow-pink dusty plains near the Caspian Sea, and finally, Caspian waters and more made indelible impression on me, set me the task of finding some new means of transmitting their feelings and experiences. Means I have been limited, I gradually mastered the language of painting; palette I had more gray. The school gave me a lot, but in me was just beginning to emerge artist ... sank into my head this idea to find some new weapons, new means to better and more share their enthusiasm and experience ... This large and thorny road most important landmark and became the fulcrum of native Armenia with its unique landscape and all the colors of life of its people. I have chosen this path. No other way did not attract me more than this. "




Patio. Yerevan. 1922
Canvas, oil.

In 1903 Martiros Saryan graduated from the school with a diploma and two silver medals.

    Art education continued in the portrait studio school (1903-1904 gg.), Who led the VA Serov and KA Korovin. "In our school the whole thing was delivered so tactfully as possible to guide the development of young artists, helping them to reveal his talent, his creative individuality, their understanding of life.

 In the Moscow School of Painting, Sculpture and Architecture Sarian was one of the best students. Serov and Korovin noted his talent, his seriousness and persistence in work.
    Saryan left the studio and if not developed, then in any case already knew how much the artist. But he did not diligently repeat the solutions found by others, and spent a few years to "find his own technique, not using someone else's. I began to look more durable, simple shapes and colors for transmission picturesque existing reality."



Lilac. 1922
Oil on cardboard

 In the years 1907-1909 the collections of Shchukin and Morozov Saryan first became acquainted with contemporary French artists. "Introduction to the French gave wings to me more and convinced me of the correctness of the chosen path." Without looking up from its roots, Saryan deeply understand French. "The artist must be himself, only himself, always another" (Gauguin). But himself may be the only one who is confident in their abilities and know the value of daring. These qualities - the lot of the great masters.
Especially fascinated in these years Saryan French Impressionist art and creativity of those Russian artists who have used their own way experience of Impressionism.

Impressions from the trips to Armenia, the best traditions of Russian art, perceived in college, studying the works of some major French artists of the late XIX-early XX century - it all melted in the original style of the first independent works Saryan. Featured in Moscow in 1907 and later, they were met with whistles and nasmeshkami.Proizvedeniya series "Tales and Dreams" Saryan were first presented with great fullness of the exhibition, held in 1907 in Moscow and which bore the name "Blue Rose".



Wisteria. 1923
Oil on cardboard. 20 x 29 cm

Private collection

Saryan was a "Blue Rose" all its big and difficult path since its inception, experienced all the stages of change of attitude towards it from the audience and critics.

Despite the hula, Saryan went to work quietly. Soon gave way to cautious polupriznaniem ridicule, and then come and the glory, strong and durable, which could not undermine any malicious attacks or dubious praise. "Already in the first period of its activity, to the great revolution, Sarian took a very prominent place among our artists," - wrote Lunacharsky, as if summing up of the debate, which was conducted around the artist's works in pre-revolutionary years.



Sunrise over Mount Ararat. 1923
Canvas, oil. 23 x 36 cm

Private collection

M. Saryan was thirty-four years old when the First World War, which was accompanied by the greatest tragedy of the Armenian people - genocide, threatened him with a complete physical destruction. Nationwide battle of Sardarapat in 1918 to stop the advance of the enemy to the heart of Armenia. However, the country is still in critical condition. And then abruptly changed the course of history: the young Soviet Republic of Armenia held out a helping hand. In 1920, in the Eastern Armenian Soviet power was established. People not only escaped death, but also received the coveted statehood.

    The revolution found him in Rostov-on-Don, where he organized the Society of Artists. In 1921, at the invitation of the Chairman of People's Commissars of Armenia A. Saryan Miasnikyan with his family moved to Yerevan. Here, on behalf of the People's Commissar of Enlightenment Ashot Hovhannisyan organizes Museum of archeology, ethnography and fine arts (Sarian was the first director of the museum).

    From now on Armenia forever becomes his home and the main theme of creativity ...



Yerevan yard in the spring. 1928
Oil on canvas


 In 1926, Saryan went to Paris, where, after polutoraletnego stay organized an exhibition of his work is also mainly on Armenian themes and subjects.

    Period Autumn 1926 Spring 1928. dates back to the highest peak of his talent and, most importantly, many decide his fate.

    Sarian lived a long life. Ninety-odd years of his life he tasted a lot painfully difficult and unfair. But even in the most serious moments of his experience has never left a profound faith in the power and ultimate triumph of light began life.



Flowers, lemons, oranges. 1953
Oil on canvas. 54 x 73 cm

Chelyabinsk Region Picture Gallery

    In his memoirs, he writes: "By asking yourself the question, whether I was happy in my life, I can not answer quite definitely - yes. Is not life happiness start from nothing, to realize his I see the light of day, the sun and enjoy countless benefits, generously in abundance provided by mother nature to man. The sense of life - happiness ... "

    "By the end of my life, if we assume that at my age already have to see what made whether justified to their conscience, to art, to which he devoted his entire life, beginning with the age of fifteen years - I felt that I just outlined the path and only should begin its work. So many opened in front of me. So many wonderful, wise and mysterious, as in the nature. "

Martiros Saryan died in Yerevan May 5, 1972.




Flowers. 1929
Oil on canvas. 71 x 71 cm

The State Tretyakov Gallery



Flowering apricot. 1929
Oil on canvas



Spring day. 1935
Canvas, oil



May rose. 1939
Oil on canvas



Cyclamens. 1940
Oil on canvas. 81 x 100 cm

Private collection



Grapes. 1943
Oil on canvas. 72 x 93 cm

The State Tretyakov Gallery


Spring in my garden. 1945
Oil on canvas. 54 x 73 cm

Private collection



Armenians who Fought in the Great Patriotic War. Flowers. 1945
Oil on canvas. 196 x 250 cm

National Gallery of Armenia



Flowers. 1946
Oil on canvas. 41 x 41 cm

Private collection


Armenia. 1957
Oil on canvas. 132 x 168 cm

Odessa Art Museum



Maki. 1947
Oil on canvas. 66 x 82 cm

Private collection



In the botanical garden. 1951
Oil on canvas. 46 x 65 cm

National Gallery of Armenia



From the slopes of Mount Aragats. 1951
Oil on canvas. 53 x 72 cm

Private collection



Autumn still life. The fruits are ripe. 1961
Oil on canvas. 80 x 100 cm

The State Tretyakov Gallery



Self-portrait. Three age. 1942
Oil on canvas




Thanks for reading ...