Башинджагян Геворк Захарович
Башинджагян Геворк Захарович
Bashinjaghian Gevork
Bashinjagyan Gevorg
Выставка «Забытые имена»
В Тбилиси 3 марта 2004 года в помещении галереи «Сололаки» при Центре культурных взаимосвязей Грузии «Кавказский дом» открылась выставка «Забытые имена», на которой было представлено 40 картин 17 армянских художников — уроженцев Тбилиси, обучавшихся там или в разное время участвовавших в художественной жизни города.
Многие работы — из частных собраний, но основная часть экспонатов, как и сама идея выставки, принадлежит коллекционеру картин тбилисских художников, профессору Александру Пирадову. Его выбор вполне оправдан: ведь Тифлис без преувеличения можно было бы назвать колыбелью нового армянского искусства. Город издавна отличался пестрым национальным составом, что вносило в жизнь горожан черты разнообразия и взаимопроникновения культурных традиций. Особенностью культурного быта Тифлиса во второй половине XIX века явилось сложение двух национальных художественных школ — грузинской и армянской, что было обусловлено тем обстоятельством, что именно Тифлис был центром художественного образования для всего Закавказья, и это в свою очередь формировало многонациональную художественную среду. В школе рисования и живописи, открытой в 1877 году при Кавказском Обществе поощрения изящных искусств, как и в частных художественных студиях, обучались грузины, русские, поляки и многие из армянских художников, достигшие впоследствии известности: Г. Башинджагян, А. Акопян, В. Пирадов, А. Шамшинян, Е. Кочар и другие.
Н. А. Элизбарашвили, кандидат искусствоведения Ноев Ковчег. Информационно-аналитическая газета армянской диаспоры стран СНГ. N 05 (74) Май 2004 года http://www.noev-kovcheg.ru/index.asp?n=74
http://diaspora.ww.am/famous/index.htm
Gevork Bashinjaghian 1857-1923
The artist has gone down in the history of Armenian art as the founder of landscape. He spent his childhood in Georgia, in the picturesque Alazan Valley, and then graduated from the St Petersburg Academy of Arts.
Bashindjagyan traveled widely in Armenia feeling deeply the beauty of his native land and devotedly praising its eternal symbols, Mount Ararat and Lake Sevan. He was the first Armenian artist to capture the unbreakable link between the biblical mountain and the life and spiritual world of his people.
The artist lived in Tiflis and held regular exhibitions of his works, infecting the developing Armenian bourgeoisie with a love of their homeland and a taste for art.
Bashindjagyan appreciated the peace and silence of nature. Both his landscapes and his literary works - tales and short stories - are dominated by a lyrical mood, opening up to the outsider the soul of an artist in love with nature.
http://worldarmeniancongress.com/ru/peoples/issue.php?Action=Full&NewsID=352
Башинджагян Г. (1857-1925), художник, испытавший определённое влияние Айвазов-ского, основоположник армянского реалистического пейзажа. Ерканян В.С. Армянская культура в 1800-1917 гг. / Пер. с арм. К.С. Худавердяна. Ер., 1985.
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Башинджагян Геворк Захарович [16(28).9.1857, Сигнахи, Грузия, — 4.10.1925, Тифлис], живописец, один из первых армянских пейзажистов. Учился в петербургской АХ (1879—83) у М. К. Клодта. Испытал влияние А. И. Куинджи. Работал в Тифлисе. Изображал наиболее примечательные виды Кавказа. Лучшие картины Б. проникнуты эпическим чувством природы, мастерски передают эффекты освещения. Произведения: «Берёзовая роща» (1883), «Алазанская долина» (1902), «Арарат» (1912) — все в Картинной галерее Армении (Ереван).
Лит.: Геворк Захарович Башинджагян. [Альбом репродукций], М., 1963.
БСЭ
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Живописец, один из первых армянских пейзажистов.
Родился 16 (28) сентября 1857 года в Сигнахи (Грузия). В 1879 -83 годах учился в петербургской Академии художеств у М. К. Клодта. Испытал влияние А. И. Куинджи. Работал в Тифлисе. Изображал наиболее примечательные виды Кавказа. Лучшие картины Башинджагяна проникнуты эпическим чувством природы, мастерски передают эффекты освещения. Произведения: "Березовая роща" (1883), "Алазанская долина" (1902), "Арарат" (1912) - все в Картинной галерее Армении (Ереван).
Умер 4 октября 1925 года в Тифлисе.
Источники:
Большая советская энциклопедия. 3-е издание. - М., 1970-77.
13.10.2004
http://worldarmeniancongress.com/ru/peoples/issue.php?Action=Full&NewsID=610
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http://www.gallerys.h1.ru/bashinjaxyan/bashinjaxyanbio.htm
Biography: The artistic career of Gevorg Bashinjagyan, the patriarch of landscape painting in Armenia, spans more than four decades. It began in the 1880s, when his native land was a part of the Russian Empire, and ended with his death in 1925, eight years after the establishment of Soviet power.
Gevorg Bashinjagyan was born on 16th September 1857, in Signakhi, a small town in eastern Georgia. In 1857, a large group of artists, poets and journalists came to Signakhi to mark the centenary of Bashindjagyan's birth. "The serpentine road ascends steadily," wrote one of them, "and I keep wondering what made people build that town so high in the mountains. They must have sought safety up there and perhaps they just loved their dwellings to be almost level with the highest peaks of the Caucasus... It is a place of undisturbed tranquillity. The mountain air is cool and heady".
Zachary Bashinjagyan, Gevorg’s father, was one of the best-educated men in Signakhi, although the life-style of his family did not differ much from the simple ways of other townsfolk. A warm-hearted out-going man, he was endowed with extraordinary linguistic talents. A part from his native Armenian, he was fluent in Russian, Georgian, and Persian, and was frequently engaged as a guide and interpreter by merchants traveling from Georgia across Armenia to Persia. Gayane Kulidjanova, his wife, taught her own children and those of her neighbors to read and write. All the members of Gevorg’s large family were avid readers and ardent lovers of poetry. His father was an amateur poet himself and took great pleasure in reciting his verse to his children. He wrote down his best poems in a thick notebook and Gevorg illustrated them with scenes from fairy-tales and folk legends. The father's notebook was for many years reverently preserved by the son. Zachary Bashinjagyan died in 1872 during a trip to Persia. Gevorg was fifteen at the time and studying at the local school. Bashinjagyan finished the Arts School with flying colors. His graduation certificate described him as a highly promising student who would do well to continue his studies at the Academy of Fine in St. Petersburg. The young man decided to try his luck and left for the Russian capital in 1878.
In the autumn of 1879, Bashinjagyan successfully passed the exacting entrance examinations and became a student of the St. Petersburg Academy of Fine Arts. The huge, impressive building on the Kadetskaya Embankment, which he had long known from postcards, was now his Alma Mater where he was going to spend the following three and half years. His life in St. Petersburg was even harder than back home. He was granted "...a monthly allowance of eight rubles which was berely enough to pay for bread". In 1882, he was forced to become an external student; although his tuition was no longer free, he hoped to make a living by selling his paintings. Bashindjagyan’s tutor was Mikhail Klodt, a man of democratic convictions and one of the organizers of what is known as the Peredvizhniki Group or Itinerant Exhibitions Society. Having found an excellent teacher of drawing and composition in Klodt, Bashinjagyan soon discovered other masters he wished to emulate.
He completed his studies at the Academy in 1883. His graduation work, "Birch Grove", won him a silver medal. In the spring of 1883, the artist returned to Signakhi. In the summer and early autumn of the same year, he made a long tour of the Caucasus and T ranscaucasia - a venture he had dreamed of for years. He went up to the Semyonovsky Pass, down the giddy winding road to Lake Sevan, and on to Yerevan, Ashtarak, Vagarshapat (at present- Echmiadzin), and the south-western part of Armenia. From there he he aded north and traveled over Georgia and the Northern Caucasus, visiting many places he had never been to before. Wherever he went, he avidly sketched the breath-taking scenery around him. The sketches soon developed into a series of magnificent canvases, a long row of "windows overlooking the Caucasus and Transcaucasia"; peaceful valleys, softly undulating hills, misty pine forests, sunlit roads, and majestic mountains, including Europe's highest peak Elbrus and the lofty Ararat with its two silvery crow ns.
In 1884, Bashinjagyan made a trip to Europe, using the scholarship that went with the silver medal awarded by the Academy. He toured Italy, visiting Florence, Venice, Rome, and Naples, and was fascinated by the masterpieces of the old Italian art. He also spent some time in Switzerland where he made several sketches of Mt. Jungfrau. "The Alps are beautiful," he wrote, "but they cannot win your heart if you have seen the Caucasus."
It must be noted at this point that he was never detachedly contemplative and aloof. A true patriot, he was keenly interested in the past, and genuinely concerned about the present and future, of his native land. In 1897, he produced a series of oils depicting Ani, once a mighty fortress and the capital of Armenia in the Middle Ages. Bashindjagyan viewed the proun ruins as a symbol of the grim past and also of the undaunted spirit of his people who had courageously stood up to all invaders.
In the 1890s, Bashindjagyan 's oils were displayed at art exhibitions in Moskow, Odessa, and Novocherkassk. At an exhibition in St Petersburg in 1891, critics singled out his "Night in the Environs of Tiflis" and "the River Debet at Night". In 1899, he visited Paris. A year later, he went there again with his wife Ashkhen Katanyan, daughter of a graphic artist from Tiflis, and their three children. The family stayed in France for more than two years. An admirer of the Barbizon school of painting, Bashindjagyan made trips to many places in France, once the favorite retreats of Corot and the other founders of that school. In 1900, he exhibited four landscapes at the exhibition of four Armenian artists in Paris. During his stay in France he produced almost thirty paintings. Perhaps the best of these is "Meudon" (1901).
The artist died on 4th October 1925. In accordance with his will, he was buried at the side of Sayat- Nova's tomb in Tbilisi. Today, rich collections of Bashindjagyan 's paintings are on display in the Art Galleries of Georgia and Armenia, and in the Museum of Oriental Art and the Tretyakov Gallery in Moscow.
Bashindjagyan's work is deeply rooted in Armenian culture, but he was also influenced by European and Russian art. A bold innovator, he introduced new forms and styles into Armenian painting which today is unthinkable without his legacy.
Biography:
GEVORK BASHINJAGHIAN ГеворгБашинджагян Date of birth: 1857 Place of birth: Sghnakh (Georgia) Date of death: 1925 Place of death: Tiflis Scope of activity: artist 1879 entered the Academy of Arts Petersburg. From 1885 nearly every year one-man shows. He is the founder of realisttic landscape in Armenian Art. Is also famous for his public activities and as a writer. National Gallery of Armenia//http://www.gallery.am/viewauthor.php?id=5&id1=&ct_id=1&col=1&a_id=339&langid=1
"Армянские художники Тбилиси"
Ноев Ковчег. Информационно-аналитическая газета армянской диаспоры стран СНГ. N 9 (43) Сентябрь 2001 года http://www.noev-kovcheg.ru/index.asp?n=43
Геворк Башинджагян
Геворк Башинджагян (1857-1925) был одним из первых армянских пейзажистов. Он получил начальное образование в Тифлисе (Тбилиси), а затем поступил в академию изобразительных искусств. Он учился в Петербурге в течение 4-х лет (1879-1883), и его учителем был знаменитый русский художник Михаил Клод.
В 1883 г. он вернулся в Грузию, где окончательно обосновался. В своих работах художник изобразил самые живописные виды Кавказа и в частности Армении. На самом деле, пейзажи Геворка Башинджагяна являются первым отображением природы Армении в армянской живописи. “Березовая роща” (1883), “Алазанская долина” (1902), “Арарат” (1912), “Тишина” – это всего лишь некоторые из лучших картин художника. Интересно то, что Башинджагян не мог писать с природы, т.к. он говорил, что его восхищение природой настолько велико, что мешает работать, и он всегда возвращался из деревни с нетронутыми холстами. http://www.yerevan.ru/celebs/index.php?id=86
Геворг Башинджагян
Поистине душою исполин Ты, охвативший мощь родных вершин, Задумчиво застывших под луной, И блеск реки, вскипающей волной, И звездное сияние небес И сонный сумрак.скрывший все окрест...
Эти строки Ованес Туманян посвятил Геворгу Башинджагяну, патриарху пейзажа Армении, основоположнику армянской пейзажной живописи. Благодаря его творчеству жанр этот сформировался и приобрел самостоятельное значение в национальном искусстве. “Наше поколение было очаровано работами Башинджагяна, и мы не пропускали ни одной его выставки. Умиротворяющая поэзия его пейзажей словно отразилась и на лице художника: глаза, то ли отливающие морской синью, то ли чуть зеленоватые, приятный голос, мягкие манеры…” (Аветик Исаакян). Пейзажи Геворка Башинджагяна являются первым отображением природы Армении в армянской живописи.
Геворк Башинджагян родился 16-го сентября 1857г., в Сигнахи, небольшом городе в восточной Грузии. Рано потеряв отца, ученик уездного училища, оставшись старшим в осиротевшей многодетной семье, вынужден был помогая матери искать средства к существованию. Так возникли случайные вывески для сигнахских лавчонок “рисованные за 20 копеек”. Но еще раньше в его жизни случились первая коробка красок, подаренная на рождество и первые рисунки, замеченные попечителем “Кавказского художественного общества”.
Рано проявившееся увлечение и благоприятные обстоятельства помогли подростку из уездного городка двинуться в Тифлис и поступить в школу рисования. Успехи в школе и полученное свидетельство о том, что он “подает несомненные надежды к дальнейшему усовершенствованию и продолжению курса в Академии”, дали возможность рискнуть, и в 1878г. Башинджагян отправляется в Петербург. Там он учился в течение 4-х лет у знаменитого русского художника Михаила Клода. В 1882г., не имея возможности проживать в Петербурге “на 8 рублей ежемесячной стипендии, которой едва и на кусок хлеба хватало”, он переходит на положение вольнослушателя, надеясь продажей своих картин расплатиться с Академией на право занятий.
В 1883г., “послав последний привет Петербургу”, Башинджагян отправляется в давно задуманное путешествие по Закавказью. Он исходил его вдоль и поперек – мок под дождем, грелся у костров, ночевал в лесу, плутал по нехоженным тропам, видел озеро Севан и в шторм, и в штиль, рассветной ранью из монастыря св. Геворга. В Мугни любовался Араратом, увидел и запечатлел Ани, Аштарак, Вагаршапат… Итогом этого интереснейшего путешествия стали пейзажи, которые художник представил на своей первой персональной выставке в 1883 году в Тифлисе.
Геворк Башинджагян путешествовал дважды и по Европе. В 1884 году он познакомился со знаменитыми худежественными ценностями прошлого, хранящимся в музеях Рима, Флоренции, Венеции и других городов, что, несомненно, оказало влияние на его живопись, раздвинув рамки художественного видения. Дважды, в 1899 и 1900-1901гг., он жил в Париже, во второй раз - более 2-х лет с женой Ашхен Катанян и тремя детьми.
Всего в Париже он создал более 30 полотен и открыл персональную выставку. Осенью 1901г. он возвращается на родину, и с этого времени навсегда, до конца своей жизни, обосновывается в Тифлисе.
Башинджагян известен также и как талантливый писатель и литературовед, тонкий знаток восточной музыки. Почти тридцать лет он отдал собиранию и изучению песен Саят-Новы. Башинджагян явился первым художником, который запланировал и осушествил путешествие по армянской земле, и первым армянским живописцем, изобразившим священную гору Арарат с натуры.
Художник скончался 4 октября 1925 года, и, согласно его желанию, был похоронен в Тбилиси, рядом с могилой Саят-Новы.
Сегодня, уже с определенного расстояния, особенно бросается в глаза самобытность и своеобразие Башинджагяна. В наше время он покоряет людей самых разных вкусов, ибо у художника своя тема, особое, башинджагяновское, настроение, неповторимый внутренний мир. http://www.yerevan.ru/gallery/index.php?task=detailed&id=3
Башинджагян Геворк Захарьевич
(1857 – 1925)
Родился в городе Сигнахи (уездный городок в Грузии).
1873 – 1878 – ученик школы рисования при «Кавказском художественном обществе»
1879 – 1883 – учеба в петербургской Академии художеств (учителя: М. Клодт,
А. Куинджи и И. Айвазовский).
1883 – первая персональная выставка в Тифлисе (16 пейзажей Кавказа).
1885, 1886 – персональные выставки в Баку.
1884, 1894 – персональные выставки в Тифлисе.
1890-е – участие в выставках в Москве, Одессе, Новочеркасске.
1888 – 1918 – постоянный участник выставок «Кавказского общества поощрения изящных искусств» (КОПИИ).
1900 – участие в выставке армянских художников в Париже.
1901 – персональная выставка в Париже.
1910 – участие в выставке в Лондоне.
1891 – 1916 – участие в выставках в Санкт-Петербурге.
1950, 1957, 1982, 1985 – юбилейные выставки произведений художника.
Картины имеются в музеях Тбилиси, Еревана, Москвы, а также в частных коллекциях многих стран мира.
«Казбеги», к/м, 30х301/2, 1923
«Дарьяльское ущелье в лунную ночь», к/м, 26х20 http://www.piradov.nm.ru/
http://www.roslin.com/artinfo/artframes/gevorg_bashinjaghian.htm
Gevorg Bashinjaghian
The name of Gevorg Bashinjaghian (1857-1925) is related to the development of landscape painting of his native country. Though living in Georgia, he often traveled through Armenia. He was the first to celebrate those landscapes: Ararat, Aragatz and Lake Sevan. In Tiflis he often organized his own one man exhibitions, the artist gradually raised the appetite of the new Armenian wealthy class towards their country's nature.
Bashinjaghian felt at ease with the peace and silence of nature. The lyrical mood dominates not only his landscapes, but also his literary works - novellas, stories - which reveal to us another facet of his soul and the devotion of the artist for his homeland's nature. He is the first Armenian artist to materialize the inseparable link of the biblical mountain with the daily life and the spiritual world of his people.
Gevorg Bashinjagyan
Gevorg Bashinjagyan was born on 16th September 1857, in Signakhi, a small town in eastern Georgia. In 1857, a large group of artists, poets and journalists came to Signakhi to mark the centenary of Bashindjagyan's birth. "The serpentine road ascends steadily," wrote one of them, "and I keep wondering what made people build that town so high in the mountains. They must have sought safety up there and perhaps they just loved their dwellings to be almost level with the highest peaks of the Caucasus... It is a place of undisturbed tranquillity. The mountain air is cool and heady".
Zachary Bashinjagyan, Gevorg's father, was one of the best-educated men in Signakhi, although the life-style of his family did not differ much from the simple ways of other townsfolk. A warm-hearted out-going man, he was endowed with extraordinary linguistic talents. A part from his native Armenian, he was fluent in Russian, Georgian, and Persian, and was frequently engaged as a guide and interpreter by merchants traveling from Georgia across Armenia to Persia. Gayane Kulidjanova, his wife, taught her own children and those of her neighbors to read and write. All the members of Gevorg's large family were avid readers and ardent lovers of poetry. His father was an amateur poet himself and took great pleasure in reciting his verse to his children. He wrote down his best poems in a thick notebook and Gevorg illustrated them with scenes from fairy-tales and folk legends. The father's notebook was for many years reverently preserved by the son. Zachary Bashinjagyan died in 1872 during a trip to Persia. Gevorg was fifteen at the time and studying at the local school. Bashinjagyan finished the Arts School with flying colors. His graduation certificate described him as a highly promising student who would do well to continue his studies at the Academy of Fine in St. Petersburg. The young man decided to try his luck and left for the Russian capital in 1878.
In the autumn of 1879, Bashinjagyan successfully passed the exacting entrance examinations and became a student of the St. Petersburg Academy of Fine Arts. The huge, impressive building on the Kadetskaya Embankment, which he had long known from postcards, was now his Alma Mater where he was going to spend the following three and half years. His life in St. Petersburg was even harder than back home. He was granted "...a monthly allowance of eight rubles which was berely enough to pay for bread". In 1882, he was forced to become an external student; although his tuition was no longer free, he hoped to make a living by selling his paintings. Bashindjagyan's tutor was Mikhail Klodt, a man of democratic convictions and one of the organizers of what is known as the Peredvizhniki Group or Itinerant Exhibitions Society. Having found an excellent teacher of drawing and composition in Klodt, Bashinjagyan soon discovered other masters he wished to emulate.
He completed his studies at the Academy in 1883. His graduation work, "Birch Grove", won him a silver medal. In the spring of 1883, the artist returned to Signakhi. In the summer and early autumn of the same year, he made a long tour of the Caucasus and Transcaucasia - a venture he had dreamed of for years. He went up to the Semyonovsky Pass, down the giddy winding road to Lake Sevan, and on to Yerevan, Ashtarak, Vagharshapat (at present- Echmiadzin), and the south-western part of Armenia. From there he he aded north and traveled over Georgia and the Northern Caucasus, visiting many places he had never been to before. Wherever he went, he avidly sketched the breath-taking scenery around him. The sketches soon developed into a series of magnificent canvases, a long row of "windows overlooking the Caucasus and Transcaucasia"; peaceful valleys, softly undulating hills, misty pine forests, sunlit roads, and majestic mountains, including Europe's highest peak Elbrus and the lofty Mt. Ararat with its two silvery crowns.
In 1884, Bashinjagyan made a trip to Europe, using the scholarship that went with the silver medal awarded by the Academy. He toured Italy, visiting Florence, Venice, Rome, and Naples, and was fascinated by the masterpieces of the old Italian art. He also spent some time in Switzerland where he made several sketches of Mt. Jungfrau. "The Alps are beautiful," he wrote, "but they cannot win your heart if you have seen the Caucasus."
It must be noted at this point that he was never detachedly contemplative and aloof. A true patriot, he was keenly interested in the past, and genuinely concerned about the present and future, of his native land. In 1897, he produced a series of oils depicting Ani, once a mighty fortress and the capital of Armenia in the Middle Ages. Bashindjagyan viewed the proun ruins as a symbol of the grim past and also of the undaunted spirit of his people who had courageously stood up to all invaders.
In the 1890s, Bashindjagyan 's oils were displayed at art exhibitions in Moskow, Odessa, and Novocherkassk. At an exhibition in St Petersburg in 1891, critics singled out his "Night in the Environs of Tiflis" and "the River Debet at Night". In 1899, he visited Paris. A year later, he went there again with his wife Ashkhen Katanyan, daughter of a graphic artist from Tiflis, and their three children. The family stayed in France for more than two years. An admirer of the Barbizon school of painting, Bashindjagyan made trips to many places in France, once the favorite retreats of Corot and the other founders of that school. In 1900, he exhibited four landscapes at the exhibition of four Armenian artists in Paris. During his stay in France he produced almost thirty paintings. Perhaps the best of these is "Meudon" (1901).
The artist died on 4th October 1925. In accordance with his will, he was buried at the side of Sayat Nova's tomb in Tbilisi. Today, rich collections of Bashindjagyan 's paintings are on display in the Art Galleries of Georgia and Armenia, and in the Museum of Oriental Art and the Tretyakov Gallery in Moscow.
Bashindjagyan's work is deeply rooted in Armenian culture, but he was also influenced by European and Russian art. A bold innovator, he introduced new forms and styles into Armenian painting which today is unthinkable without his legacy.
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