Self-portrait 1909

Editor: So, this is Martiros Sarian's "Self-Portrait" from 1909, a pencil drawing. There's a raw quality to the lines, almost like he's captured a fleeting glimpse of himself. What visual symbols strike you when you look at this work? Curator: The birds are particularly compelling. Are they just birds, or do they signify something more? Flight, freedom, perhaps a soul in transition? Consider also the mountain-like forms in the background - Sarian was deeply connected to the Armenian landscape, to his sense of place, and identity. Notice how these forms are rendered with hatching, similar to the face, mirroring a landscape internal and external, constantly transitioning. Editor: That’s interesting; I hadn’t really considered the connection between the birds and mountains to Sarian himself. Do you see a relationship to impressionism there, using line instead of color? Curator: Exactly! Think about what he omits – the unfinished lines aren't a weakness, but an invitation. It is memory taking shape through visual elements, incomplete yet potent, engaging both artist and viewer in the creative process. The eyes are shaded darker and draw attention. Do you notice how the sitter's gaze feels both direct and vulnerable? Editor: Yes, definitely, it’s as though he's simultaneously revealing and concealing himself. Curator: Consider, too, how portraiture inherently functions as a symbolic representation. We see Sarian as he presents himself. His gaze meets ours directly, making an emotional connection through his self-representation. What elements are the most significant carriers of memory for you? Editor: I now realize I was mostly paying attention to technique, rather than trying to grasp how this image functions as an archive of a place and time. Thank you, it changes how I interpret portraits moving forward. Curator: Indeed, exploring the deeper currents beneath the surface can unveil powerful layers of meaning, especially when the symbols connect with history and identity.