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IMPRESSIONIST COLORS AND LIGHTS FROM ARMENIA

This exhibition combines the lyrical vision of Armenian Impressionist painters with Barbizon, cradle of outdoor painting. The Barbizon school was more than just a group of painters, it was a quiet revolution. In the mid-19th century, artists such as Millet and Rousseau flocked to this peaceful and wooded village to paint directly from nature. Their concern to capture authentic landscapes, natural light games and scenes of everyday rural life has paved the way for the emergence of a revolutionary artistic movement: IMPRESSIONISM. Inspired by the spirit of Barbizon, the impressionists pushed this vision further, capturing fleeting moments, vibrant colors and the emotional essence of light. In 1863, the jury of the Paris Salon rejected Édouard Manet’s Déjeuner sur l'herbe. The public doesn’t care about it, the work is neglected by critics. The conservative theorist Jules-Antoine Castagnary describes the painting as "a simple sketch, a study", and the art historian Léon Lagrange even refuses to speak of "these foolish sketches by Manet". About ten years later, the second exhibition of the impressionists opens on rue Laffitte, in the gallery of the art dealer Paul Durand-Ruel. The next day, the newspaper "Le Figaro" published the famous review by Albert Wolf: "A supposed art exhibition has just opened at Durand-Ruel... Five or six fools, including a woman, gathered to exhibit their works... These so-called artists declare themselves impressionists. Similarly, in 1898, after the opening of the 18th exhibition of the Moscow Art Lovers' Society, the award-winning canvases Lunch and Sermon to the Orthodox, painted by 28-year-old Yeghishe Tadevossian, sparked a lively debate in artistic circles at the time, as well as a wide echo in the Russian and Armenian press. The critics reproached the artist for the lack of clear boundaries between light and shadow, characterizing the canvases of this great painter as "an illogical combination of muddy blue spots of different shades". Born and developed in France, this "typically French" movement caused a real revolution in European art and spread internationally, sparking the emergence of distinct national schools of impressionism. The "Armenian Impressionism", born in the second half of the 19th century, comes from the traditions of classicism and late realism. It reached its full development between the years 1900 and 1910, giving rise to manifestations on several levels in the work of many Armenian artists. The exhibition ' Colors and Lights of the Impressionists of Armenia " is of great importance for the re-evaluation and appreciation of Armenian works of art from this period. For the first time in France, an effort is made to present Armenian contributions to one of the most influential and transformative art movements in the world, Impressionism, highlighting its formation, evolution and unique adaptations. The exhibition presents artists mainly active during the first three decades of the 20th century, for whom Impressionism played an essential role. The influence of Impressionism is evident in their innovative use of colour, their unique approach to outdoor painting and their mastery of chiaroscuro. These artists have also redefined the concept of study, offering a new interpretation of nature and its nuances. The collection, which includes more than 40 paintings and graphic works by two dozen artists, includes masterpieces by renowned personalities such as V. Sureniants, Ye. Tadevossian, M. Sarian, Ye. Kochar, K. Adamian, V. Gayfejian, S. Arakelian and others. The exhibition begins symbolically with the small canvases of V. Sureniants, followed by the works of O. Alhazian, P. Terlemezian, M. Sarian and others, mainly painted from life. However, the unique works of Ye. Tadevossian, V. Gayfejian and S. Arakelian constitute the heart of this remarkable exhibition. The exhibition is accompanied by a rich selection of archival documents, including more than 30 rare photographs, letters, postcards, etc. As the art historian Wilhelm Matevossian affirms, "the Armenian impressionist school is one of the strongest among all others." Marina HAKOBYAN Curator of the exhibition - Director of the National Gallery of Armenia

ARMENIA - AN OPEN-AIR MUSEUM

Situated at the crossroads of the East and the West, Armenia has long served as a cultural bridge between two of humanity’s oldest civilizations, creating a rich and varied cultural heritage. When St. Gregory the Illuminator converted King Tiridates III and in 301 AD, Armenia became the first nation in the world to adopt Christianity as a state religion, it was the beginning of the brightest and most glorious chapter in the history of Armenian culture, which shapes the very essence of medieval Armenian art and charts the path for its future development. In 405, the invention of the Armenian alphabet by Saint Mesrop Mashtots laid the foundation for the rise of Armenian literature, the founding of the school of translators and the flowering of Armenian Christian culture. This golden age saw the creation of beautifully illuminated manuscripts and unique frescoes, the construction of magnificent churches and the sculpture of intricate and lace-shaped khachkars (stone crosses), who have all contributed to the development of a rich and distinctive cultural heritage in medieval Armenia. Architecture occupies a prominent place among the cultural achievements of medieval Armenia. Developing in the wild beauty of the mountainous landscape of Armenia - called Karastan, or "land of stones", by its people - this tradition has given rise to impressive architectural monuments. Magnificent churches and monasteries have been built with remarkable art, blending harmoniously into the natural environment and reflecting the deep spiritual and aesthetic values of the Armenian people. Today, architectural masterpieces such as Zvartnots - hailed as the "wonder of space" - and the complex of the Noravank monastery, nestled in a deep gorge framed by imposing cliffs, are enduring symbols of Armenia’s medieval heritage. The Mother Cathedral of Etchmiadzin, decorated with renowned frescoes, remains the spiritual heart of the Armenian people. Ani, once the dynamic capital of historic Armenia, is famous for its imposing fortifications, majestic churches and cathedrals, and large secular buildings, many of which were designed by the renowned architect Trdat, who was declared "chief architect of the city". Ani occupies a precious place in the memory of Armenia as the most illustrious capital of its time. The miniature, or illuminated manuscript, is one of the jewels of medieval Armenian art. It is an exquisite form of art that combines literary tradition with a complex visual expression, leaving behind a legacy of spiritual and artistic brilliance. Today, the sumptuous illuminated manuscripts preserved in museums and libraries around the world constitute the cultural emblem of Armenia. In medieval Armenian society, books were considered sacred and miniature art reached its peak in the 13th century. The 17th and 18th centuries marked a turning point in the history of Armenia, a period of profound transformations and reforms. This period is the link between the medieval world and the modern world. While medieval Armenian fine arts, as in the rest of the world, developed mainly within monastic complexes - embodying the strict ideals and spiritual interest of the time - the secular art of the early modern period oriented towards the ideals of the Age of Enlightenment. This new artistic movement emphasizes the value of the individual, explores the human condition and seeks to reflect the realities of life through psychological depth and ideological expression, often inspired by patriotic and philanthropic themes. Armenian literature and philosophy flourished, while architecture was imbued with stylistic influences from the Renaissance, Baroque and neoclassicism. In the visual arts, a new phase has emerged, marked by a dynamic fusion of Eastern and Western traditions, intertwined with elements of Renaissance and Mannerism. This synthesis marked the beginning of an era of cultural dynamism and intellectual progress in the history of Armenian art. The end of the 19th century and the beginning of the 20th century were marked by an unprecedented flowering of Armenian fine arts. Alongside the dominant styles of academism, romanticism and realism, the avant-garde movements of the 20th century emerged, enriched by the stylistic and conceptual influences of modern art from Western Europe. This period is characterized by a remarkable artistic diversity, a depth of thought and an expressive richness, graphic art and sculpture reaching new peaks of creativity. Today, masterpieces of Armenian art from the second half of the 19th century and the first half of the 20th century are proudly displayed at Barbizon, celebrating the centuries-old cultural dialogue between France and Armenia. Accessibility

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73 grande rue 77630 Barbizon, Seine-et-Marne, Île-de-France, France