Gagik Ghazaryan’s initial education as a painter in Kojoyan School of Painting (Yerevan) has made him essentially sensitive towards contour, chiaroscuro, light and shadow. This sensitivity has accompanied him throughout his life.
In the I. Repin Institute in St. Petersburg (in that forge of old academic traditions) he had an unlimited choice of nude models (particularly female). This variety of male and female nudes has also commanded the variety of expressive and technical means to the artist’s sensitive soul.
G. Ghazaryan’s aesthetics has been formed under the influence of good patterns developed from Baroque to Post-impressionism. It seems to continue the vein of Rodin, Maillol and Renoir. The series of nudes are formed by contour. The latter, with its emphasized and soft lines, refractions and curves, with the thickness, thinness and even the disappearance of the line creates the mass of healthy and mature body. The gradual development of the tonality of anatomical and fleshy masses starts just after the contours. Thus, the drawing, with its contrasts and subtle hues, is transformed into the sculptural one. But when he turns to fantastic-mythical and folk figures (twins with same or different sexes bound up together, satyrs with mighty bodies and tails, centaurs, various wizards with empty or invisible eyes, with shaggy or tidy hair, with insects, birds, fruits, etc.) here he needs the experience of 20th century artists who worked within the scope of organic forms of human body (Picasso, Laurens, Lipchitz, Moore).
Next type of drawings is more painterly but part of them is more lively naturalistic (solely in terms of vitality). G. Ghazaryan often uses different mediums at the same time: crayon, pastels, etc. Part of drawings (mainly in pastel, made before the academic period) echoes those of a number of French artists (Degas, Toulouse-Lautrec, Vuillard) due to their softness, haziness, due to emphasizing several characteristic body parts (eyes, knees, ribs, shins, etc.) and at last due to their subject matter and characters.
Another group of drawings is more romantic in nature, as it expresses the velvet delicacy of female skin at best. Other drawings together with plenty and juicy constitution, represent the hidden temper and blood circulation of the naked mature women (either full-face or from behind) in standard academic poses. They remind of Renoir’s female bodies and Maillol’s bronze goddesses.
Professor, Doctor of Art Criticism