Comparing the Oils of Toros with those of OninO's
Born in 1978 in Armenia, OninO has always been a fine painter, but she was unresolved about embracing art as a career choice. But after her time in a specialized art institution, OninO encountered the artworks of the Russian master artist, Toros. This induced an immense change in the student who was so persuaded by the artistic genre of Toros (Vagarshak Torosyan) that she started studying art sincerely. One cannot but ignore the significant and enormous influence of Toros in determining the career of OninO as an independent painter who exhibits profound creative quality of her own.
It would be very unjust to dub the influences of Toros on her masterpieces as mere simulation it was intended as an absorption of analogous systems, brush strokes and improving of one's thoughts that must be taken to the fore. OninO, who was particularly enthralled by the exciting and peculiar faces of Toros, spent two years learning art under him in U.S.A. By this time, however, the teacher was triumphant in making her come to terms with her own system and expand her creativity through the immense range of her work of art.
Any evaluation made between a master and a protege cannot be labeled as a replication of art on any party. It is in effect a realization of the artistic competence of each artist in attempting to highlight the creative elegance of each while pointing out the external influences of the polished result.
As is probable, the influence of Toros is rather visible in some of the earlier works of OninO. Though even in the later years she keeps a number of it, it's more on the latter portion of her creative tenure when we can perceive the uniqueness of OninO as a painter. During the early episodes, one detects resemblance particularly in the description of the characters, this includes the similar narrow faces, with curious expressions. A thorough glance on another light, reveals that Torosijn Vagarshak's characters are either at times more realistic and at others, completely weird, while those of OninO's are somewhere in between. Also interestingly one assumes the view that her characters are larger than in real life and more magnificent and loud in their mannerisms.
One cannot help but disregard in both the art pieces of Vagarshak Torosjin's and OninO, the stress on the diverse types of hats that the characters wear. While the faces of Toros are devoid of hats (though the characters do don a hat in the other works), every creation of OninO has the characters donning some or the other kind of loud hat. In fact, all of OninO's hats are remarkable and they obtain as much thought as the characters themselves.
Both the artists on the other hand, maintain their influence of Cubism; OninO at times more than her mentor. Her playfulness with shapes is very delicately manifested and so delicate that one may overlook it if not seen with a careful eye. The fusion of natural factors and feelings into each of the paintings is one unique attribute of both Vagarshak Torosjin and OninO. However, while Toros precisely keeps hardly any traces of feminist elements in his pieces, OninO's works are sated with them.
OninO's liking for romance, match making, festivities and display of wealthy living make her works have a distinctly dissimilar aura from that of Toros, who can be more associated with the two limits of make believe as well as realism. Similar to some other areas, both painters are somewhat uneven in their preference of themes.
The daring brush strokes of Vagarshak Torosjin against the more subtle ones of OniO's and a similar color palette are on the other hand, particular preferences that come to the fore while observing the two painters.
In the representation of emotions within the imagery of their picture, whether humorous or sorrowful, infatuation or enthusiasm, anger or disappointment, both the artists display ample testimony of mastery. It is in this likeness and conversely personal demonstration of artistic ability and impressions that the two artists stand their own ground and OninO makes her declaration as an artist of enormous caliber quite vividly felt.
It would be very unjust to dub the influences of Toros on her masterpieces as mere simulation it was intended as an absorption of analogous systems, brush strokes and improving of one's thoughts that must be taken to the fore. OninO, who was particularly enthralled by the exciting and peculiar faces of Toros, spent two years learning art under him in U.S.A. By this time, however, the teacher was triumphant in making her come to terms with her own system and expand her creativity through the immense range of her work of art.
Any evaluation made between a master and a protege cannot be labeled as a replication of art on any party. It is in effect a realization of the artistic competence of each artist in attempting to highlight the creative elegance of each while pointing out the external influences of the polished result.
As is probable, the influence of Toros is rather visible in some of the earlier works of OninO. Though even in the later years she keeps a number of it, it's more on the latter portion of her creative tenure when we can perceive the uniqueness of OninO as a painter. During the early episodes, one detects resemblance particularly in the description of the characters, this includes the similar narrow faces, with curious expressions. A thorough glance on another light, reveals that Torosijn Vagarshak's characters are either at times more realistic and at others, completely weird, while those of OninO's are somewhere in between. Also interestingly one assumes the view that her characters are larger than in real life and more magnificent and loud in their mannerisms.
One cannot help but disregard in both the art pieces of Vagarshak Torosjin's and OninO, the stress on the diverse types of hats that the characters wear. While the faces of Toros are devoid of hats (though the characters do don a hat in the other works), every creation of OninO has the characters donning some or the other kind of loud hat. In fact, all of OninO's hats are remarkable and they obtain as much thought as the characters themselves.
Both the artists on the other hand, maintain their influence of Cubism; OninO at times more than her mentor. Her playfulness with shapes is very delicately manifested and so delicate that one may overlook it if not seen with a careful eye. The fusion of natural factors and feelings into each of the paintings is one unique attribute of both Vagarshak Torosjin and OninO. However, while Toros precisely keeps hardly any traces of feminist elements in his pieces, OninO's works are sated with them.
OninO's liking for romance, match making, festivities and display of wealthy living make her works have a distinctly dissimilar aura from that of Toros, who can be more associated with the two limits of make believe as well as realism. Similar to some other areas, both painters are somewhat uneven in their preference of themes.
The daring brush strokes of Vagarshak Torosjin against the more subtle ones of OniO's and a similar color palette are on the other hand, particular preferences that come to the fore while observing the two painters.
In the representation of emotions within the imagery of their picture, whether humorous or sorrowful, infatuation or enthusiasm, anger or disappointment, both the artists display ample testimony of mastery. It is in this likeness and conversely personal demonstration of artistic ability and impressions that the two artists stand their own ground and OninO makes her declaration as an artist of enormous caliber quite vividly felt.
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