By the water 1904

Editor: So, this is "By the Water," a watercolor by Martiros Sarian, painted in 1904. It feels dreamlike, almost abstract in its forms, but you can still make out figures and a sort of landscape. The washes of color are so delicate. How do you interpret this work? Curator: Its pictorial structure is quite interesting. Sarian's flattening of space immediately strikes the eye, does it not? He presents near and far objects on the same plane, minimizing depth. The chromatic scale, too, offers us an intriguing pathway. Note how the ochres and creams, punctuated by cool blues, establish a dominant mood of languid contemplation. Editor: Yes, the limited palette definitely contributes to the overall feeling. The figures, are they secondary to the composition or part of the design itself? Curator: One can view them through the lens of structuralism, considering the painting as a composition governed by underlying structures rather than explicit meaning. The figures, therefore, become units within a matrix of lines and shapes, interacting to create visual harmony. Have you noticed the repetition of the arched form throughout the design? Editor: I see what you mean. The arches in the clothing echo those plant forms in the center of the image. Is that a purely formal connection, or does it suggest something more? Curator: Form, within the context of Formalism, carries its own intrinsic weight. The relationship between form and content is not always direct or referential; sometimes it is the arrangement itself that speaks most profoundly. Editor: That’s a new way of thinking about it for me, analyzing the connections just through their structure rather than looking for hidden meanings. Curator: Indeed, the intrinsic nature of form allows the artwork to function autonomically. Visual language is always ready to yield its knowledge through our careful gaze. Editor: It’s fascinating to consider art in this purely structural sense. Thanks for showing me another way to appreciate Sarian’s watercolor.