Savelievich Petrosyan

Russia • Krasnodar • 1931−2008

Biography and information

Artist George S. Petrosyan, is a native of Krasnodar. His family moved to Ekaterinodar in 1915 to escape the genocide. In 1958, George graduated from Krasnodar art College, in 1965 – the Moscow state order of the red banner of Labor Institute of art. V. I. Surikov, majoring in "easel painting". On the distribution went to Petropavlovsk – Kamchatsky, then returned to Krasnodar. Member of the Union of artists of Russia since 1994 works of the artist are in the Krasnodar art Museum. FA. Clarence, Krasnodar regional showroom of fine arts, private collections of Krasnodar, Moscow, St. Petersburg and Israel.

George S. Petrosyan is one of those rare people who live only for the sake of art. After graduating from College, Institute, military service, life in Moscow and Kamchatka, returning to Krasnodar already a grown man, he discovered Armenia for themselves and devoted their creativity. And most importantly – in Yerevan, he met with people's artist of the USSR Martiros Saryan, who became for a novice painter a Teacher in the highest sense of the word. This trip has changed not only his worldview, but also a palette that, in contrast to the gray-brown of the "Moscow" palette, filled with color coming from the Caucasian landscapes of Ararat valley.

Work Petrosyan 1970-1980 – ies was out of the politicized Soviet context, therefore, a member of the Union of artists it was only in 1994, when gone the Chimera of socialist realism. The artist has contrasted the ideological axioms of prayer-a contemplative view of the world. In his work the Krasnodar painter was transparent to the elements of life and energies of the Universe. He believed that it is impossible to dictate to life what it should be, and put nature above man (i.e., human, social).
The artist created his own myth about Armenia – his ancestral home. Inheriting the tradition Sarian, whose works grew out of Russian and Western symbolism, George himself plunged in aesthetics, culture and lifestyle artists of the turn of eras. He chose the path of monastic asceticism, contrasting it with a few riotous living "hawk moths" - fellow brush. Earning a living in the Creative production plant, Petrosyan all my free time spent in the open air, in Armenia, where he wrote sketches, later in the workshop turning into paintings. Lyrical, decorative landscape, thematic painting, portrait ( often with elements of landscape) – here are the main features of genre preferences.

Like cézanne and Russian artists of the group "Blue rose", he refuses the differentiation of fine tools: lines, spots, colors, shading in the use of synthetic vision of nature. Among the genre paintings it is necessary to allocate the following work: "the Germans killed my aunt Satenik" (1977), "Armenian musicians" (1975). Artist concerned with the dramatic events of his native country, but the tragedy and the major, he sees color. Dynamics, the passions is achieved by contrasting color combinations.
Landscapes Petrosyan – cosmogonic. He has some sustainable plans, verticals and horizontals, lines and spots always bent, but not like the famous s-shaped compositions of modernism, and in its own way. A favorite compositional device for landscapes – axonometric allows you to see the world from the point of view of a flying bird and to perceive it holistically.
A large series of landscapes dedicated to the Ararat valley, in the earthly Paradise, where life flows according to mythological laws. It inhabits this "Arcadia" images of people, animals, plants, plastically and color and understand them as one harmonious whole: "Ararat. Windy" (1980), "Ashtarak summer" (1981), "Trees in the mountains" (1989).

His numerous portraits constitute a kind of iconostasis of Armenia's cultural figures, friends and relatives. Iconographic and iconographic techniques used by the artist, send us back to Byzantine prototypes, so prototypes of the real portrait is not always recognized. The psychological component of portraiture goes by the wayside, and the first remains eternal, that is spiritual, not mental. Sacral-religious picture of the world allows him to treat the world like a temple, so the actual characters (teachers, doctors, translators, musicians) resemble the faces of the saints. The painting "the Composer Komitas" (1982) from the collection of CCHM them. F. A. Kovalenko – the software artist's work. The figure of the priest and composer, is depicted on the plane on the left and right – the same iconic Shrine to the Armenian people mount Ararat. A big Man, therefore, proportionate to the Great Sorrow. Petrosian follows the concept, common in the philosophy of the early twentieth century about the Artist-Creator, writer, musician as part of the natural elements. Among these works - "portrait of the Singer Lina Mkrtchan visiting family Petrosyan" (1995), "Arno Babajanyan" (1996), "self-Portrait with brother Boris. Music" (1996), "Yevgeny Vakhtangov" (2000), "Tatyana Koryakina-actress" (1983), etc.

Petrosyan as his creative teacher, the orientalist. It connects composite-color classical European art with Eastern pantheism. All still lifes by fine, decorative and partly monumental. European art of the figure and ground, space and plane blends with the ornamental composition of the Oriental carpet. The artist had a special sense the energy of color, but in contrast to his famous brutal Armenian counterparts, he too lyrical, delicate and gentle. Each painter has its own favorite range of colors. A landmark for Petrosian is a neighborhood of orange and green, pink and blue, immersing us in the strange mystical atmosphere.
George S. combined the gift of the painter and art theorist. He is the author of four books of memoirs about his life, meetings with great people. His thoughts about art are often aphoristic in nature, in them, as in the paintings, he continues his dialogue with the world of art.

Member of the AIS Tatiana Sokolinskaya
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