Outlining the Similarities and Dissimilarities of the Paintings of Vagarshak Torosjin and OninO
Born in Armenia in 1978, OninO has always been a fine painter, but she was unclear about taking up art as a career choice. On the other hand after her stint in a dedicated art school, OninO happened to chance upon the paintings of the Russian master artist, Vagarshak Torosjin. This triggered a massive change in the student who was so inspired by the artistic pattern of Toros (Vagarshak Torosyan) that she started studying art genuinely. One cannot but disregard the substantial and great influence of Toros in determining the vocation of OninO as an independent artist who demonstrates significant creative quality of her own.
It shall be pretty unreasonable to call the influences of Toros on her works as bare imitation it was intended as an absorption of analogous methods, brush strokes and developing of one's thoughts that must be taken to the front. OninO, who was specifically intrigued by the remarkable and odd faces of Toros, spent two years learning art under him in U.S.A. At this time, however, the teacher was successful in letting her recognize her unique system and cultivate her creativity through the massive assortment of her work of art.
Any assessment made between a mentor and a protege can't be termed as an imitation of art on either side. It is indeed an awareness of the artistic competence of each painter in attempting to highlight the creative flair of each while remarking the external influences of the complete result.
As is projected, the influence of Toros is rather apparent in some of the past masterpieces of OninO. Though even in the subsequent years she keeps several of it, it's more on the latter portion of her creative tenure when we can notice the eccentricity of OninO as an artist. During the early times, one detects resemblance specifically in the representation of the characters, this includes the similar tapered faces, with curious facial expressions. A particular glimpse on the other hand, demonstrates that Vagarshak Torosjin's characters are either at times more realistic and at others, completely uncanny, while those of OninO's are somewhere in between. Also interestingly one acquires the sensation that her characters are bigger than in real life and more affluent and daring in their mannerisms.
One cannot help but disregard in both the art works of Toros's and OninO, the emphasis on the different styles of hats that the characters wear. While the faces of Toros are lacking in hats (though the characters do put on a hat in the other paintings), every work of OninO has the characters wearing some or the other style of flashy hat. In reality, all of OninO's hats are fascinating and they lure as much interest as the characters themselves.
Both Toros and OninO on the other hand, retain their influence of Cubism; OninO more frequently than her mentor. Her playfulness with shapes is very subtly manifested and so fine that one may miss out on it if not viewed with an observant eye. The mixture of natural aspects and feelings into each of the paintings is one unique attribute of both Torosijn Vagarshak and OninO. But while Torosijn Vagarshak precisely maintains scarcely any traces of feminist elements in his masterpieces, OninO's paintings are complete with them.
OninO's liking for romance, match making, partying and display of wealthy living make her artworks have a distinctly dissimilar impression from that of Toros, who can be more associated with the two edges of make believe as well as realism. Just as in some other fields, both painters are pretty much uneven in their choice of subject matters.
The brave brush strokes of Toros as opposed to the more restrained ones of OniO's and a similar color palette are on the other hand, personal choices that come to the fore while viewing the two painters.
In the description of emotions within the images of their art work, whether comic or depreseed, affection or passion, fury or frustration, the two painters display sufficient testimony of mastery. It's in this comparison but unique exhibition of artistic ability and impressions that the two painters make their own ground and OninO makes her statement as painter of great caliber rather intensely felt.
It shall be pretty unreasonable to call the influences of Toros on her works as bare imitation it was intended as an absorption of analogous methods, brush strokes and developing of one's thoughts that must be taken to the front. OninO, who was specifically intrigued by the remarkable and odd faces of Toros, spent two years learning art under him in U.S.A. At this time, however, the teacher was successful in letting her recognize her unique system and cultivate her creativity through the massive assortment of her work of art.
Any assessment made between a mentor and a protege can't be termed as an imitation of art on either side. It is indeed an awareness of the artistic competence of each painter in attempting to highlight the creative flair of each while remarking the external influences of the complete result.
As is projected, the influence of Toros is rather apparent in some of the past masterpieces of OninO. Though even in the subsequent years she keeps several of it, it's more on the latter portion of her creative tenure when we can notice the eccentricity of OninO as an artist. During the early times, one detects resemblance specifically in the representation of the characters, this includes the similar tapered faces, with curious facial expressions. A particular glimpse on the other hand, demonstrates that Vagarshak Torosjin's characters are either at times more realistic and at others, completely uncanny, while those of OninO's are somewhere in between. Also interestingly one acquires the sensation that her characters are bigger than in real life and more affluent and daring in their mannerisms.
One cannot help but disregard in both the art works of Toros's and OninO, the emphasis on the different styles of hats that the characters wear. While the faces of Toros are lacking in hats (though the characters do put on a hat in the other paintings), every work of OninO has the characters wearing some or the other style of flashy hat. In reality, all of OninO's hats are fascinating and they lure as much interest as the characters themselves.
Both Toros and OninO on the other hand, retain their influence of Cubism; OninO more frequently than her mentor. Her playfulness with shapes is very subtly manifested and so fine that one may miss out on it if not viewed with an observant eye. The mixture of natural aspects and feelings into each of the paintings is one unique attribute of both Torosijn Vagarshak and OninO. But while Torosijn Vagarshak precisely maintains scarcely any traces of feminist elements in his masterpieces, OninO's paintings are complete with them.
OninO's liking for romance, match making, partying and display of wealthy living make her artworks have a distinctly dissimilar impression from that of Toros, who can be more associated with the two edges of make believe as well as realism. Just as in some other fields, both painters are pretty much uneven in their choice of subject matters.
The brave brush strokes of Toros as opposed to the more restrained ones of OniO's and a similar color palette are on the other hand, personal choices that come to the fore while viewing the two painters.
In the description of emotions within the images of their art work, whether comic or depreseed, affection or passion, fury or frustration, the two painters display sufficient testimony of mastery. It's in this comparison but unique exhibition of artistic ability and impressions that the two painters make their own ground and OninO makes her statement as painter of great caliber rather intensely felt.
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