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Khachatur
Akopovich Yesayan

Russia 
1909−1977
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He graduated from the art school in Leninakan, then continued teaching at the Yerevan art-industrial College of the famous masters of Armenian painting, S. A., Arakelyan, V. M. Gaipajama and others.

In the mid 1930-ies Yesayan studies at the Moscow energy Institute and in 1938 received a diploma engineer. He drops the painting in 1940 for the first time takes part with its scenery at the Republican exhibition in Yerevan. His debut was successful, and that settled it. Yesayan has chosen the path of the artist.

A significant part of his works devoted to the image of his native land. He praised the beauty of lake Sevan, Aragats, Ararat and Ararat valley. The artist draws the image of ancient monuments of architecture, organically "fit" in the nature of Armenia. These landscapes are inherent in a variety of colors and compositional decisions. They attract the viewer a special intimacy ("Spring", 1954; "Ararat in the afternoon", 1966; "the Lake Iglic", 1969; "the Church Artavazik. Byurakan", 1967; "Marine. Ashtarak", 1962, etc.).

Yesayan was the only one among the painters of Armenia is constantly drawn to the urban landscape. He feels the poetry of the new city. Many of his works dedicated to the capital of Armenia — Yerevan, and Tbilisi, Baku, Moscow, Leningrad, Tallinn and other cities of the Soviet Union.

Since the late 1950-ies in connection with the travel of the artist in Romania, France, Italy, Greece, Turkey England, his work is enriched by new images, motives, moods.

From 1940-ies Yesayan lot of work in the field of theatrical decorative art for theatres of Yerevan, Leninakan and other cities. He created the design for the Opera "Gevorg Marzpetuni" novel by Muratsan, the Opera "David Bek" by A. Tigranyan, "Carmen" by J. Wiese, "Oedipus the King" by Stravinsky, "Lucia di Lamermur" by G. Donizetti, "Almast" by A. Spendiaryan, and was also the artist of the movie "Oath of a priest" ("Armen film"), etc. of Registration of the artist differ lyricism of plein air scenes, laconism and stage space.

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