In the mountains 1962

Curator: Here we have Martiros Sarian's 1962 pencil drawing, "In the Mountains." It depicts a mountainous landscape with what appear to be small settlements nestled amongst the rocks. Editor: There’s an interesting raw quality to this piece; it feels almost like a preliminary sketch capturing a specific location. The stark contrast between the paper and the dark pencil marks gives it a dramatic feel. I wonder if the landscape held personal significance for the artist. Curator: Undoubtedly. Sarian was deeply committed to depicting Armenia and its landscapes. The drawing encapsulates the spirit of his homeland; it's not just about representing geography but the nation's soul, its cultural memory imprinted on the land itself. You notice, despite it appearing simple, the composition creates a distinct spatial depth? Editor: Absolutely. The varying pencil pressures create a dynamic sense of receding planes, from the immediate rocks and sparse foliage, to the suggested structures on the midground ledges, and then to the faint, almost ghost-like peaks in the distance. One must wonder about the availability, procurement, and craftmanship of Sarian's pencils during that era, what lead was employed to achieve those bold lines, as the very materiality contributed so much to its aesthetic and emotive impact. Curator: His formal artistic education played a huge role, with his early exposure to Russian avant-garde and then later Paris which enabled a fusion of European techniques with Armenian subject matter. This work speaks volumes about Sarian's commitment to visualizing and valorizing Armenian identity during a time of intense Soviet control of cultural expression. His depictions become an act of cultural preservation. Editor: Yes, thinking of preservation brings an awareness of process. This wasn't mere idle sketching, I imagine. There was deliberate material application—the grade and softness of the pencils allowing Sarian to quickly capture fleeting shadows and textures and evoke depth in the mountains, and it made me consider the weight he literally brought to his drawing in these mountains and these places. Curator: Precisely. Sarian was trying to construct a very particular image, it was very nationalistic project but using subtle strategies through art and form, rather than blatant propaganda to communicate a kind of collective Armenian memory, history, and presence. Editor: Seeing this landscape, I realize I am appreciating the labor, materials and history all at once through Sarian’s lens and hands. Thank you for the insights. Curator: A pleasure. Art always provides such multifaceted conversations.