Still life 1925

Editor: Here we have "Still Life," an oil painting by Martiros Sarian from 1925. The colors feel warm, almost autumnal, even with the blues and greens. What's striking to me is the kind of flattening of space and form – a very modern sensibility, yet the subject matter feels quite traditional. What do you make of it? Curator: It's interesting you point that out, that tension. Sarian painted this after his travels to Europe. In what ways do you think European modernism and specifically post-impressionism manifest themselves in the piece? Editor: Well, I definitely see elements of Matisse in the flattening of space, but then, is there something almost Cezanne-like in the geometric construction of the fruit? I am not sure. Curator: Indeed, but let's think about Sarian's context as an Armenian artist working in this period. The rise of still life, particularly depictions of commonplace objects, wasn't just about formal experimentation. It also related to rising nationalistic sentiments. These images validated an appreciation for everyday cultural artifacts and scenes, subtly emphasizing unique values against homogenizing forces. What kind of conversation do you think it might be generating with audiences? Editor: So, by painting fruits and bowls, Sarian might be engaging with conversations around Armenian identity? I hadn't thought about it like that – it's easy to get caught up in the stylistic influences and miss the potential for broader cultural statements. I also see how the choice of fruits common to the region may be meaningful too. Thank you! Curator: Exactly. The power of these paintings lies in their capacity to function on different levels. Form and identity reinforce each other to provide social, and ultimately political context to seemingly trivial imagery.