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=Биография=
Carlos Sayadian Карлос Саядян
Signaling the emergence of a relatively tolerant Soviet regime in Armenia, the 1960s proved to be pivotal in the development of modern Armenian art, and painting in particular. After years of struggling for freedom of expression, Armenian artists could finally enjoy certain liberties in their career, including the right to employ and make reference to traditional Armenian artistic themes and motifs
Soviet Armenian artists working during and following that decade rejected concrete subject matter prevalent in state sponsored social realism in favor of far more internalized esthetic strategies. Carlos Sayadyan is among the prominent representatives of this movement. While celebrating a vibrant career spanning some 25 years, Sayadyan’s 1998 retrospective, held at the National Museum of Armenia, also served to demonstrate the evolving energies of the artistic revolution begun in the 60s
Based on a pulsating, evocative palette of dark hues, Carlos Sayadyan’s female figures are an ode to an irreducibly peaceful mystery, even while thriving on compositional ambitions that make full use of the interplay of shadow and light. But Sayadyan is not interested in recreating a bucolic past as mere escape or antidote. Rather, he proposes alternative realities through his powers of suggestion, attempting an otherworldliness that carries incessantly mutating scenes of visual poetics
Biography:
Carlos Sayadyan was born in 1948 in Yerevan capital of Armenia. He was only 13 when he was nominated as the first prize winner at an exhibition dedicated to the 40th anniversary of Soviet Armenia, while attending H. Kojoyan’s Children’s Fine Art School. Graduating from Armenia’s Institute of Fine Arts in 1975, he started out by participating in local group shows. Significant solo exhibits would soon follow, taking Sayadyan’s work to Romania, The United States, Greece and elsewhere.
Carlos has been a member of the USSR Artists Union since 1979, for which a potential member needs to have participated in at least 3 all- union and several inter-republic exhibitions. His first one-man show was in Bucharest, Romania, where he represented the Soviet Union. He received approval from the critics for his excellent contribution to the field of art.
In 1990 Carlos’ one-man show in Los Angeles opened with great success.
Selected Solo & Group Exhibitions
The central House of Painters, Moscow, Russia
Art Expo, New York, USA
*1998 Art Source, Las Vegas, USA *1999 Collectors Gallery Loenen a/d Vecht, The Netherlands *2000 Art 21, Las Vegas, USA Gallery Vazquez, Ootmarsum, The Netherlandshttp://www.armeniaview.com/artists1.php?aid=143
Художники и их картины
Carlos Sayadian
Sayadian, whose work is influenced by neoclassicism, has been a member of the USSR Artists Union since 1979 and has exhibited his work in the United States.
Carlos Sayadian Карлос Саядян
Signaling the emergence of a relatively tolerant Soviet regime in Armenia, the 1960s proved to be pivotal in the development of modern Armenian art, and painting in particular. After years of struggling for freedom of expression, Armenian artists could finally enjoy certain liberties in their career, including the right to employ and make reference to traditional Armenian artistic themes and motifs
Soviet Armenian artists working during and following that decade rejected concrete subject matter prevalent in state sponsored social realism in favor of far more internalized esthetic strategies. Carlos Sayadyan is among the prominent representatives of this movement. While celebrating a vibrant career spanning some 25 years, Sayadyan's 1998 retrospective, held at the National Museum of Armenia, also served to demonstrate the evolving energies of the artistic revolution begun in the 60s
Based on a pulsating, evocative palette of dark hues, Carlos Sayadyan's female figures are an ode to an irreducibly peaceful mystery, even while thriving on compositional ambitions that make full use of the interplay of shadow and light. But Sayadyan is not interested in recreating a bucolic past as mere escape or antidote. Rather, he proposes alternative realities through his powers of suggestion, attempting an otherworldliness that carries incessantly mutating scenes of visual poetics