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Outlining the Similarities and Differences of the Paintings of Toros and OninOBorn in Armenia, OninO

Date Added: April 08, 2015 01:48:34 PM
Author: Benjamin Gray
Category: Arts
Born in Armenia in 1978, OninO was always a top-quality painter, but she was unresolved about taking up art as a career preference. On the other hand after her period in a particular art school, OninO encountered the masterpieces of the Russian maestro, Torosijn Vagarshak. This stimulated an immense change in the student who was so inspired by the creative method of Toros (Torosyan Vagarshak) that she started studying art earnestly. One cannot but ignore the substantial and enormous influence of Toros in forming the career of OninO as an independent artist who reveals great creative talent of her own. It shall be very unjust to call the effects of Toros on her masterpieces as simple replication it was meant more as an absorption of similar systems, brush strokes and improving of one's thoughts that must be taken forefront. OninO, who was particularly fascinated by the appealing and unusual faces of Toros, spent two years studying art under him in the United States. By this time, though, the teacher was triumphant in making her recognize her unique method and progress her artistic abilities through the immense range of her canvas. Whatever comparison made between a mentor and a protege cannot be labeled as a simulation of art on either person. It is actually an understanding of the creative ability of each painter in trying to highlight the creative finesse of each while pointing out the external influences of the completed product. As is anticipated, the influence of Torosijn Vagarshak is pretty clear in some of the past art pieces of OninO. Though even in the subsequent years she keeps several of it, it is more on the latter half of her artistic tenure when we can notice the uniqueness of OninO as an artist. During the early phase, one detects resemblance especially in the depiction of the characters, this includes the similar constricted faces, with curious expressions. A good look on another light, discloses that Vagarshak Torosjin's characters are either at times more pragmatic and at others, totally weird, while those of OninO's are somewhere in between. Also interestingly one gets the feeling that her characters are bigger than in real life and more lavish and daring in their mannerisms. One cannot help but overlook in both the pieces of Vagarshak Torosjin's and OninO, the emphasis on the various styles of hats that the characters wear. While the faces of Toros are lacking in hats (though the characters do don a hat in the other paintings), every creation of OninO has the characters donning some or the other kind of colorful hat. In reality, all of OninO's hats are attractive and they draw as much attention as the characters themselves. Both Vagarshak Torosjin and OninO however, retain their influence of Cubism; OninO at times more than her master. Her playfulness with shapes is so subtly manifested and so dainty that one may miss it if not seen with an observant eye. The mixture of natural factors and feelings into all of the paintings is one main point of both the painters. However, while Torosijn Vagarshak strictly maintains barely any hints of feminist tendencies in his artworks, OninO's paintings are replete with them. OninO's love of romance, match making, festivities and display of fine living make her masterpieces have a clerly different feel from that of Toros, who can be more associated with the two extremes of make believe as well as realism. Just as in some other fields, both artists are pretty much uneven in their preference of subjects. The daring brush strokes of Toros versus the more delicate ones of OniO's and a similar color palette are on the other hand, private preferences that come forefront when viewing both the artists. In the description of emotions within the images of their work of art, whether humorous or melancholic, infatuation or enthusiasm, fury or dissatisfaction, the two painters show sufficient proof of mastery. It is in this resemblance but personal exhibition of creative potential and impressions that the two painters make their own ground and OninO makes her proclamation as painter of grand caliber quite intensely felt.
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