Letters in Plates Catalog English

Yerevan Collectors’ Choice 2 Ruben Angaladian: Letters in Plates

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This catalog is published on the occasion of the exhibition, Yerevan Collectors’ Choice 2: Ruben Angaladian: Letters in Plates, which presents a selection of art plates from the private collection of the writer, collector Ruben Angaladian.

Editor: Astghik Marabyan, art historian Associate Director for Public Programs Cafesjian Center for the Arts Vahagn Marabyan Acting Executive Director Cafesjian Center for the Arts Armen Yesayants, PhD in Art History Curatorial Assistant to the Associate Director for Public Programs Cafesjian Center for the Arts English Translation: Hrant-Harry Gadarigian Artworks Photographer: Ruben Martirosyan © 2014. Cafesjian Center for the Arts Photo of Ruben Angaladian: Asatur Yesayants All artworks presented in the catalog are on loan from the private collection of Ruben Angaladian.

Catalog Design: Nané Toumanian Printed at Antenor Printing House Yerevan, Armenia © 2014. Cafesjian Center for the Arts All rights reserved. No part of the content of this publication may be reproduced without prior written permission from the Cafesjian Center for the Arts.

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Yerevan Collectors’ Choice 2 Ruben Angaladian Letters in Plates

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Contents 6

Acknowledgments Vahagn Marabyan Acting Executive Director Cafesjian Center for the Arts

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Letters in Plates Armen Yesayants PhD in Art History Curatorial Assistant to the Associate Director for Public Programs Cafesjian Center for the Arts

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About My Collection and This Exhibition Ruben Angaladian

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Works in the Exhibition

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List of the Plates

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Acknowledgments Vahagn Marabyan Acting Executive Director Cafesjian Center for the Arts 6

The unique exhibition project, Yerevan Collectors’ Choice, focused on Yerevan-based collectors and their private collections, launched at the Cafesjian Center for the Arts in 2012, was unprecedented in the cultural life of the city. The broad coverage of the first exhibition demonstrated the necessity for a reassessment of the role and significance of collectors in the cultural environment of the country.

The second exhibition for this project opened on October 8, 2014 in cooperation with renowned Armenian culturologist, writer and collector Ruben Angaladian, and features a selection of plates from his extensive art collection. The exhibition, Letters in Plates, reveals the bright character and aesthetic mindset of the collector, exploring the rich cultural environment in which these works of applied arts found their unique artistic expression. Many works, created by recognized Armenian artists, will be on view for the first time, encouraging public recognition of these extraordinary expressions of creativity as a new cultural value.

I extend my profound gratitude to all whose dedication and tireless efforts made the exhibition, Yerevan Collectors’ Choice 2: Ruben Angaladian: Letters in Plates, a reality at the Cafesjian Center for the Arts.

I congratulate and express my sincere gratitude to Mr. Ruben Angaladian, who graciously supported this initiative of the Cafesjian Center for the Arts and agreed to share his collection with the public.

More importantly, acquaintance and the opportunity for conversation with a renowned intellectual were, indeed, an invaluable encounter for the entire staff of the Center.

I also thank the staff of the Cafesjian Center for the Arts for their continuing commitment to the Cafesjian legacy and for making this exhibition a success.

I am confident the exhibition, Yerevan Collectors’ Choice 2: Ruben Angaladian: Letters in Plates, will offer an exciting landscape of new cultural discoveries and communication for Armenian and foreign art lovers, reaffirming the mission of the Cafesjian Center for the Arts - to present the best of the world’s contemporary art in Armenia and the best of Armenian culture to the world.

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Letters in Plates Armen Yesayants PhD in Art History Curatorial Assistant to the Associate Director for Public Programs Cafesjian Center for the Arts Writer, philosopher, cultural critic, ethno-political analyst and collector, Ruben Angaladian has filled his life with art. Both literally and figuratively, he lives in art. Over the decades, his collection has been enriched with unique examples of Armenian and world art, each of which constitutes an inseparable part of his personality. Ruben Angaladian belongs to the circle of collectors in whose collections nothing appears accidentally. This fact especially comes to light in his selection of plates. For many peoples, including Armenians, there is the accepted tradition of breaking plates as a sign of fortune. Ruben Angaladian, on the other hand, has found fortune in collecting plates.

In general, for centuries household items have had specific aesthetic designs – of color, geometry, figurative (humans and animals), etc. In this context, plates in particular have never been common items. Throughout history, there has been a unique outlook attributed to that roundish object down the millennia. Even though the look of the plate as we know it today appeared relatively recently – a few centuries ago, clay or china dishes were known from ancient times and not only for practical application. It is sufficient to remember the antique Greek pateras, kylix and fish plates, whose illustrations changed from geometric design to figurative over time. Mainly, they depicted episodes of daily life as well as important historical events or folktales. In essence, kitchen items, including plates, also served as a medium to record a specific event, to verify it, and to pass it from generation to generation.

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Naturally, each century contributed to the illustration of plates or trays in its own manner. During the Renaissance, tondos (a term for circular art works, either paintings or sculptures) became widespread. In terms of plates, this art form was especially expressed in the desco da parto style trays (birth trays) owned by many Italian families of the time. They were an important symbolic gift on the occasion of a successful birth.

Renaissance masters including Masaccio and Botticelli painted these trays.

Departing from this historical excursion, let us now reflect on a very important question: the composition of a round space. This form, the tondo, as the frame for a piece of art, directly impacts compositional solutions.

Plates, which are mainly rounded, are subject to these same principles. The round or oval form dictates how to construct a composition, how to distribute the figures, create the perspective. The result is different in comparison with the usual square or rectangular frame, commonly seen by the human eye. At times composition can be quite artificial, unnaturally fitted to a round border. Thus, the illustration of plate itself is a challenge for an artist and obliges him to make it as harmonious as possible.

Within this context, it is clear that despite the spread of the tradition of illustrating plates and trays worldwide, this culture rarely occurs in the annals of Armenian visual art. Early Medieval ceramic pieces from Dvin can be specially noted. Also, Armenian plates from Kutina (today’s Kutahya) were distinguished for their high artistic craftsmanship, widely popular in 15th-18th centuries in Asia and Europe. However, illustration of plates did not develop as art form in modern Armenian visual arts.

Thus, Ruben Angaladian’s contribution to spreading this art form among Armenian artists is invaluable.

For ten years he has been urging his artist friends to use plates as medium too: many of the artworks were implemented exactly for the collector on the plates provided by him. The plate made by sculptor Ara Shiraz is called A Letter to Ruben. To a certain extent it encapsulates the general idea of almost all the plates in the collection. They are specific stories-letters and well-wishes to the collector, and we have the opportunity to get to know those via this second exhibition of the Yerevan Collectors’ Choice series. Because of this initiative, the private collection again opens to the public, just as the Gerard L. Cafesjian collection became available at the Center he established.

The selection on exhibit has gathered over seventy works from sixty-four artists under one roof. Within its round space, plate has assembled different artists (painters, sculptors and potters) of several generations. It is common to say that the world is round. Thus, it is not surprising that in some medieval miniatures the Creator is depicted holding a drafting compass when drawing the earth. In stressing that the world is round, in essence we are pointing out the simple fact that no matter how large the world is, the chance of two people meeting is quite big if it is predestined. This exhibition is also a meeting place for dozen of artists and thousands of visitors – all gathering around a round plate.

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About My Collection and This Exhibition Ruben Angaladian 10

The commencement year and location of my collection are precise: 1967, Leningrad. I was 20 years old, yet a student… The rhythm of the city, architecture, its history, everyday visits to Hermitage, other museums and libraries, personal contacts with book collectors and lectures of leading scholars defined my intellectual interests in cognition of art and later in art collecting. The Russian avant-garde painters of the 1910-20s became my close friends (B. Ermolaev, I. Gurvich, N. Mogilevski, S. Gershov). The generation of artists of the 1960s was living and working with me in the same city, and the generation of the 1970s was rising (V. Mishin, Ts. Hakobyan, Yu. Lukshin, N. Sichev). My constant visits to their studios and long disputes with them helped me conceive the diverse layers of art. Since 1970 my career in literature and art philosophy became more definite.

During the 1970-80s I initiated “apartment” exhibitions of paintings and graphic works. In 1979 I organized an exhibition of Leningrad-based “left” graphic painters in Yerevan. An important component of forming my artistic mindset was structural explorations of art, which has been decisive for the future success, quality and exclusiveness of my collection.

In 2003 the painter Robert Elibekyan presented me an illustrated plate. That incited me to pay attention to the fact that this classical form of applied arts was rare in modern Armenian culture.

Yes, classical, just to remember Raphael’s or Picasso’s plates.

Armenian ceramic art has centuries of history; however illustration of plates has not been popular in the Armenian culture. Albeit some famous Armenian painters (M. Saryan, H. Kojoyan) have worked on illustration of plates, this did not foster the further development of this art form. Realizing that, I asked my artist-friends with quite different aesthetic mindsets to create illustrated plates. So they gave me all this beauty.

The exhibition presents a selection from my extensive collection, which brings together several generations of today’s Armenian artists. Some of them like Kamo Nigaryan and Ara Shiraz have already passed away, leaving one copy of exclusive plates. Works by painters residing far from Armenia are also on exhibit. However, most pieces are created by Yerevan artists, whose creative vigor, talent and generous willingness has raised the execution of original illustrated plates to a world class. What a diversity of forms, themes, mediums and compositions. The artists seek their personal “self” in the round wily space of the plate and as genuine masters reveal their uniqueness and outlook, touching our eyes and refining our world …

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Works in the Exhibition

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5

20 0 ub en ,

z, ira h S Ara

R to r e ett AL

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My purpose is to create artworks from manufactured house-hold plates. I always had a dream to work in applied arts and eventually developed this working model: taking an ordinary item, working on it and transforming it into a unique artwork. I create freely on varied themes, painting both abstract and figurative compositions.

Sometimes the plate itself incites the imagery and I illustrate both sides of the work.

Robert Elibekian

Ro b

14

ert

Elib

ekian ,

Untitled, 2003

be Ro

rt

ian bek i l E

, Untitled, 2008

15

Mk hur t r A

16

an, Sunrise, 2014 rtchy

Gr

igo rK

hach a

tryan, He llo, 2005

17

Va han

18

Rum elyan , Composition, 2004

arazya d Kh r a ou Ed

n, Apple, 2004

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Live, eat, paint…

Live, eat, paint…

Live, don’t eat, but paint… then paint again…

That’s how these plates are born.

Yes! You are right: the art needs sacrifice.

Teni Vardanyan

an, Untitled, 2004 dany r a iV Ten

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00 6 e, 2 c a ,F ryan Kamo Niga

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The experience of working on plates was very exciting for me. I know that decorated plates have centuries of history: however my first endeavors in painting on plates were made in the scope of this collection.

I am very grateful to the collector Ruben Angaladian who provided me with this opportunity. This kind of creative work is like a game, as the space of the plate becomes a game-zone for the artist, where one can discover new things for himself.

ilanyan, Portrait, 2006 Marina D

Marina Dilanyan

Ma

rin a

Dila nyan, Ta 2004 lk ,

23

na No

rie Gab

ialogue, 2008 lyan, D

Ka mo

24

Tum asya n, Untitled, 2004

an, Talk, 2007 piny A ik ler Va

Va ru z

ha

nY ep r emy an

, Untitled, 2012

25

m ha g Ge

Le vo nB

26

akh sh

inyan, Fish, 2005

a liky Gu

a n, Rock P inting, 2002

Razm i

kS

am ve lts ,

Bu ll,

20 0 6

27

28

et iP r Yu

the Artist’s Studio, 19 83 n, In a y ros

Yu ri

Pet rosya n, A M

odel, 1987 29

Ma m ik on

Sa

gh

truscan Series, 20 12 etro E R , an y l ate

m Ma

ik on

30

Sa gh

ate

lyan

, Retro

s, 2 0 Etruscan Serie

10

31

lit Li

So

n, Untitled, 2006 onya m o gh

G

rig or

32

Ba gh um yan 06 , Wash ing the Head, 20

01

2 ,U an y n kha mir A h g Moushe

n

2 d, it tle

33

Ye

34

dG an v r

on of Europa, 198 Abducti 1 yan, h s a b oja

For me the plate animates an illusion of eternity, on which the image is revived more lithely and coherently. Since the 1980s, in parallel with working on ceramics, I have started painting, drawing or making reliefs on plate-shaped planes. The illusion of weightlessness is more compelling in an angle-free space. Different mediums, such as a plate, inspire me with new creative themes.

Sam Zumian

ian, Zum m a S

Awaiting, 2006

35

A

Sa

l ve m M

36

ar tir os ya n,

T he

6 Lake o , 200 n the Mountain

ot sh

,T syan o k a Kir

hree trees, 2006

, Flower, 2006

Kn a

rik

syan nn i a vh Ho

, Kiss, 2005 amyan Agh n re Ka

37

A

An ita A

38

rake lyan,

Eye, 2006

an, Fish, 2008 akely a Ar t i n

39

A

As ho

40

o sh

aint Sargis, 200 6 an, S y l da a tB

t Av agya n, Untitled, 2008

5

Alb ert

Ha k

ya ob

a Fest‌ I am the Fes an is m t, 2 Hu , 00 n

A

Ar

am

omposition N8, 2005 an , C y n aja gh

41

42

F

e

Fe li

h eg Y lix

C om yan, r a iaz

position, 200

5

xY egh iaza ryan, Felix, 2005

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44

G

or rig

n, Ab lya e i n Da

u-Lala Mahari, 2012

Gr

igo r

Da nie

lyan , Kinto of Guguz, 2005

45

H

m as

S ik

airy Tail Girl, 2008 an , F y o ev

Ha

46

sm ik S

evo yan, Composition, 2007

47

Ga gi

48

k Gh a

zanchyan, The Bird in Cage,

2007

Ha

y

ryan rigo kG

, Butterfl ies, 2004

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an , T osy r t Pe an r Tig

50

i he Woman n Mask, 2012

Tig

ran Ma

tulyan, Th Girl, 2006 e

51

52

n Ma

l ve

an , W doy a M

omen Series, 2008

M

an

ve l

Ma doy an , W

8 omen Series, 200 53

am Ar

, Composition, 2005 nyan a n Hu

A

ra m

54

Hu

nan yan, Un itled, 2008 t

55

56

kobyan, Composition, 200 d Ha r a 6 u Ed

Ed u

ar dH

ako byan , Com

03 position, 20

57

cha ha K ko Mo

ins, 2005 arlequ H , an tr y

Ne

58

rse s Me

likyan, Knight, 2005

Se

syan gho o P et rv

, The Artist, 2008

Kiki, Bobo, 2005

59

60

nr y He

The collection of plates of culturologist Ruben Angaladian is unique in our country from several perspectives. First, it undeniably has a great artistic value and second, which is more important, this collection reveals the development of fine arts for a specific period in the country. In general, the significance of a collection is valued through the paintings, graphic works or sculpture. The plates included in this collection prove that genuine values are everywhere. This exhibition is a remarkable expression of this idea.

kian, Girl, 2009 Garu

Henry Garukian

He n

ry G

aruk

ian, Unt i t l e d, 2 0 0 5 61

an, Portrait, 2008 kany s o aV ot h S

Sho ta V oska nyan,

62

00 an, 2 The Spanish Wom

4

63

Arm

64

en G

evor gya

n, Lonely Bird, 2006

m ria a M

e Beast, 2008 yan, Th kob a H

Gab

o, The Bird, 2005

65

Ash ot Ba gh Arko

66

, Composition, 200

5

r sa a d

ya

he n, T

f the Armeni an, 2 Road o

009

Van Sog homo

nyan, Space, 2008

67

me Ar

E

m

68

il

Ab

rah am yan , Had

rut in Fire, 200

9

n, Untitled, 200320 1 anya 1 ard V n

n Mount Aragats , 201

4

Na

na

ake o n, L a y s na Mi

Ar se

nG haz a

ryan,

The Ox, 2014

69

M Se

70

da

Bek aryan

, Midday, 2004

t ar

M in

, Landscape, 2005 lyan e y ika

iA rent Lav

ghasyan, Violin Player , 201

3

Mi ka yel M

artir osyan, Night, 2011

71

m ir nA e b Ru

vel Line, 2012 ian, Le

Ti gr an Sm baty an, Ship on Fire, 2006

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RUBEN ANGALADIAN (b. 1947) is a prominent Armenian culturologist, essayist, philosopher and collector. He has written and published 22 books, including Choralis (Yerevan, 1975), All Day (Leningrad, 1987; Montreal, 1997), The Architecture of Pandect (New-York, 1998), The Armenian AvantGarde of the 1960s (St.-Petersburg-Montreal-Riga, 2006, Russian and English), River’s Speech (Yerevan, 2014). Ruben Angaladian has published more than 50 fundamental works on Armenian and world culture of the 20th century. His works have been translated and published in more than twenty languages in thirty countries.

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List of the Plates

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Ara Shiraz (1941-2014), A Letter to Ruben, 2005, faience, mixed media, 39 x 29 cm

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Robert Elibekian (b. 1941), Untitled, 2003, faience, mixed media, diameter: 30,5 cm

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Robert Elibekian (b. 1941), Untitled, 2008, faience, mixed media, diameter: 27,5 cm

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Arthur Mkrtchyan (b. 1970), Sunrise, 2014, oil, tufa, wood, diameter: 31 cm

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Grigor Khachatryan (b. 1952), Hello, 2005, tempera on clay, diameter: 38 cm

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Vahan Rumelyan (b. 1963), Composition, 2004, oil on faience, diameter: 30,5 cm

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Edouard Kharazyan (b. 1939), Apple, 2004, acrylic on faience, diameter: 30 cm

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Teni Vardanyan (b. 1957), Untitled, 2004, oil on faience, diameter: 30 cm

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Kamo Nigaryan (1950-2011), Face, 2006, oil on red clay, diameter: 28 cm

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Marina Dilanyan (b. 1957), Talk, 2004, oil on faience, diameter: 30 cm

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Marina Dilanyan (b. 1957), Portrait, 2006, faience, mixed media, 30 x 30 cm

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Nona Gabrielyan (b. 1944), Dialogue, 2008, porcelain, mixed media, Diameter: 28 cm

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Kamo Tumasyan (b. 1950), Untitled, 2004, marker on faience, diameter: 35 cm

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Varuzhan Yepremyan (b. 1959), Untitled, 2012, oil on porcelain, diameter: 33,5 cm

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Valerik Apinyan (b. 1950), Talk, 2007, oil on porcelain, diameter: 24 cm

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Levon Bakhshinyan (b. 1954), Fish, 2005, red clay, glaze, diameter: 21 cm

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Gegham Gulikyan (b. 1951), Rock Painting, 2002, glaze on red clay, diameter: 25 cm

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Razmik Samvelts (b. 1954), Bull, 2006, porcelain, glaze, 38 x 34 cm

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Yuri Petrosyan (b. 1941), In the Artist’s Studio, 1983, chamotte, diameter: 29 cm, depth: 12 cm

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Yuri Petrosyan (b. 1941), A Model, 1987, chamotte, diameter: 29 cm, depth: 13 cm

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Mamikon Saghatelyan (b. 1958), Retro Etruscan Series, 2010, faience, plaster, diameter: 22,5 cm

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Mamikon Saghatelyan (b. 1958), Retro Etruscan Series, 2012, faience, plaster, diameter: 22,5 cm, depth: 9 cm

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Lilit Soghomonyan (b. 1969), Untitled, 2006, acrylic on faience, diameter: 26,5 cm

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Grigor Baghumyan (b. 1947), Washing the Head, 2006, porcelain, marble, diameter: 27 cm

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Moushegh Amirkhanyan (b. 1958), Untitled, 2012, glaze on clay, diameter: 43 cm

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Yervand Gojabashyan (b. 1939), Abduction of Europa, 1981, faience, wax, diameter: 27 cm

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Sam Zumian (Samvel Hambardzumian) (b. 1953), Awaiting, 2006, faience, mixed media, diameter: 27 cm

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Samvel Martirosyan (b. 1959), The Lake on the Mountain, 2006, oil on porcelain, diameter: 27 cm

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Ashot Kirakosyan (b. 1960), Three trees, 2006, acrylic on faience, diameter: 26,5 cm

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Karen Aghamyan (b. 1946), Kiss, 2005, acrylic on faience, diameter: 30 cm

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Knarik Hovhannisyan (b. 1925), Flower, 2006, acrylic on faience, diameter: 28 cm

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Anita Arakelyan (b. 1964), Eye, 2006, oil on porcelain, diameter: 23 cm

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Anita Arakelyan (b. 1964), Fish, 2008, oil on porcelain, diameter: 28 cm

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Ashot Badalyan (b. 1952), Saint Sargis, 2006, overglaze paint on faience, diameter: 23 cm

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Ashot Avagyan (b. 1958), Untitled, 2008, overglaze paint on porcelain, diameter: 27 cm

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Albert Hakobyan (b. 1958), Human is a Fest‌ I am the Fest, 2005, oil on faience, diameter: 27 cm

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Aram Aghajanyan (b. 1954), Composition N8, 2005, glaze, faience, diameter: 32 cm

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Felix Yeghiazaryan (1947-2014), Felix, 2005, oil on faience, diameter: 26,5 cm

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Felix Yeghiazaryan (1947-2014), Composition, 2005, faience, mixed media, diameter: 27 cm

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Grigor Danielyan (b. 1950), Abu-Lala Mahari, 2012, chinese ink on porcelain, diameter: 30 cm

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Grigor Danielyan (b. 1950), Kinto of Guguz, 2005, oil on faience, diameter: 28 cm

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Hasmik Sevoyan (b. 1958), Fairy Tail Girl, 2008, glaze paint on faience, diameter: 28 cm

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Hasmik Sevoyan (b. 1958), Composition, 2007, porcelain, ceramic paints, diameter: 27 cm

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Gagik Ghazanchyan (b. 1960), The Bird in Cage, 2007, oil on steel, 44,5 x 32,5 cm

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Hayk Grigoryan (b. 1974), Butterflies, 2004, acrylic on porcelain, diameter: 27 cm

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Tigran Petrosyan (b. 1961), The Woman in Mask, 2012, oil on porcelain, diameter: 26 cm

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Tigran Matulyan (b. 1960), The Girl, 2006, oil and acrylic on porcelain, diameter: 26,5 cm

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Manvel Madoyan (b. 1960), Women Series, 2008, oil on faience, diameter: 27 cm

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Manvel Madoyan (b. 1960), Women Series, 2008, oil on porcelain, diameter: 30 cm

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Aram Hunanyan (b. 1966), Composition, 2005, glaze on red clay, diameter: 24 cm

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Aram Hunanyan (b. 1966), Untitled, 2008, glaze on red clay, diameter: 9 cm

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Eduard Hakobyan (b. 1952), Composition, 2006, acrylic on porcelain, 29 x 29 cm

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Eduard Hakobyan (b. 1952), Composition, 2003, acrylic on porcelain, diameter: 24,5 cm

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Moko Khachatryan (b. 1969), Harlequins, 2005, porcelain, mixed media, 29 x 29 cm

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Nerses Melikyan (b. 1957), Knight, 2005, felt-tip pen on porcelain, diameter: 27 cm

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Kiki (Grigor Mikayelyan) (b. 1956), Bobo, 2005, tempera on faience, diameter: 30 cm

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Servet Poghosyan (b. 1948), The Artist, 2008, oil on porcelain, diameter: 28 cm

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Henry Garukian (b. 1950), Girl, 2009, oil on porcelain, diameter: 27 cm

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Henry Garukian (b. 1950), Untitled, 2005, oil on porcelain, diameter: 31 cm

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Shota Voskanyan (b. 1960), Portrait, 2008, acrylic on porcelain, diameter: 27 cm

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Shota Voskanyan (b. 1960), The Spanish Woman, 2004, acrylic on porcelain, 30 x 30 cm

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Armen Gevorgyan (b. 1958), Lonely Bird, 2006, acrylic on faience, diameter: 30 cm

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Mariam Hakobyan (b. 1949), The Beast, 2008, acrylic on faience, diameter: 29 cm

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Gabo (Gabriel Manukyan) (b. 1957), The Bird, 2005, acrylic on faience, diameter: 27,5 cm

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Arko (Arkadi Baghdasaryan) (b. 1945), Composition, 2005, faience, mixed media, diameter: 24 cm

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Ashot Baghdasaryan (b. 1957), The Road of the Armenian, 2009, faience, bronze, diameter: 23 cm, depth: 8,5 cm

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Van Soghomonyan (b. 1937), Space, 2008, acrylic on porcelain, diameter: 28 cm

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Emil Abrahamyan (b. 1956), Hadrut in Fire, 2009, oil on porcelain, diameter: 24,5 cm

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Armen Vardanyan (b. 1955), Untitled, 2003-2011, oil on faience, diameter: 26 cm

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Nana Minasyan (b. 1954), Lake on Mount Aragats, 2014, watercolor on red clay, diameter: 20 cm

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Arsen Ghazaryan (b. 1959), The Ox, 2014, oil on porcelain, diameter: 30 cm

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Seda Bekaryan (b. 1953), Midday, 2004, oil on faience, diameter: 27 cm

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Martin Mikayelyan (b. 1943), Landscape, 2005, mixed media on porcelain, diameter: 19 cm

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Lavrenti Aghasyan (b. 1947), Violin Player, 2013, oil on faience, 25,5 x 25,5 cm

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Mikayel Martirosyan (b. 1990), Night, 2011, oil on porcelain, diameter: 28 cm

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Ruben Amirian (b. 1937), Level Line, 2012, acrylic on faience, diameter: 29 cm

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Tigran Smbatyan (b. 1957), Ship on Fire, 2006, oil on porcelain, diameter: 30 cm

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Yerevan, 2014