Settlement 1932

Editor: So, here we have Martiros Sarian’s "Settlement" from 1932, done in oil. The first thing that hits you is the sheer vibrancy of the colors – this explosive palette capturing a landscape in such a raw, emotive way. It's definitely expressionistic. What does it spark in you when you see it? Curator: Ah, Sarian! His work is like sunshine distilled onto canvas. It always makes me feel as if I’m stepping into a memory, hazy and glowing with feeling. Look at how he simplifies forms, almost cubist in a way, but softens everything with that intense, almost feverish color. Do you feel a certain yearning, maybe a hint of nostalgia, in those brushstrokes? Editor: Definitely a strong sense of place and, you're right, this dream-like nostalgia. It feels less like a literal settlement, and more like… a feeling of home. Is that orientalist influence that I've read about in play here too? Curator: Precisely! He's taking cues from orientalist paintings—the vibrant colours, that simplified almost abstracted setting. And yet, it’s uniquely Armenian, wouldn’t you say? Grounded in his deep love for the Armenian landscape. It’s not just observation; it’s a soulful connection. It feels incredibly intimate, doesn't it? A whispered secret from the artist. Editor: Absolutely, a soulful connection, I love that. It's like he's not just showing us a place, but sharing a piece of himself, his heritage. I get the sense of that yearning you were mentioning too. Curator: Yes, and by sharing that longing through colour and form, he invites us to find echoes of our own settlements – the places and feelings that truly define ‘home’ for each of us. Perhaps a settlement isn't just where we are, but who we are. Editor: That's a lovely way to think about it – both grounding it and making it something deeply personal. Thanks so much for this.