1952 Born in Yerevan, Armenia.
1976 Graduated from Yerevan State Academy of Fine Arts.
Since 1979 – Lecturer in State Academy of Fine Art’s of Armenia.
1990 Aram Isabekian became an Associate Professor and in 1992 has been conferred the title of Professor.
1982 Member of the Artists’ Union of Armenia.
1994- till present he is the Rector of the Yerevan State Academy of Fine Arts.
1999 Awarded a gold medal by the Ministry of Education and Science of the Republic of Armenia.
2001 Awarded the “Movses Khorenatsi” medal.
2002 Member of the International Academy of the Humanities and Natural sciences.
Since 2002 holds the title of Honorable Artist of the Republic of Armenia.
Since 1976 Aram Issabekian has participated in more than 200 group exhibitions in Armenia, the former USSR and abroad.
1982 Museum of Prof. Abrahamian, Yerevan
1987 National Gallery of Armenia, Ejmiatsin branch
1991 National Cultural and Educational Association Hall, Aleppo (Syria)
1995 In the City of Art international, Paris (France)
1996 The 6th Egypt Biennale, Cairo (Egypt)
1996 Galleria 20, Paris (France)
1997 Armenian Embassy in France, Paris (France)
1998 In the City of Art international, Paris (France)
1999 National Gallery of Armenia, Yerevan
2001 Albert and Tove Boyajian Gallery, Yerevan State Fine Arts Academy, Yerevan
2010 – Artists’ Union of Armenia, Yerevan (Armenia)
2015 – Meeting of Masters, Backes & Strauss, London (UK)
2016 – Armenia: Reflections through Generations, AGBU, Yerevan (Armenia)
2016 – The Seven Secrets, Backes & Strauss, London (UK)
2017 – Library of Colours, Georgian National Museum, Tbilisi (Georgia)
2017 – Three Colours, AGBU, Yerevan (Armenia)
2019 – “Armenia Art Fair”, May 31, Yerevan EXPO Center
2019 – “Dreams of Reality”, Artists Union of Armenia.
Like father, like son; the case is strictly in point to Aram Isabekian, the son of Armenian classical painter Edward Isabekian. Aram Isabekian inherited talent and fine artistic taste from his parents Edward Isabekian and Arpenik Nalbandian, which he developed into his own distinctive style. This wonderful family had another prominent member, Dmitry Nalbandian (Aram’s uncle), an outstanding representative of the Soviet painting. It is amazing how Aram managed to avoid any influence and remained faithful to his inner voice and feelings.
When considering Aram Isabekian’s contribution and merit to painting, one necessarily states his professionalism, intellect and perfect knowledge of various painterly techniques. It means that the artist will masterly deal with any task, including challenges of the new times by creating everlasting values. The Poet, Promenade, the Witch, Naked Woman, Rose hip Branch, the Witches and other works best illustrate the point.
Having grown up in a family of classics of Armenian painting, the artist has always cherished the best examples of national realistic art, which had to be combined with current trends and preferences and bring new artistic qualities to Armenian art.
In this sense the genre of portraiture in Isabekian’s art stands out among his works. During the Renaissance every distinguished master considered it necessary to try their skills in portraiture, since the artist’s individuality was apparently realized in this genre. Today Aram’s self-fulfillment is an acknowledged fact. The Portrait of My Father, Paravon Mirzoyan and Renaissance are among the greatest achievements of Armenian painting; they have a special place in the treasury of Armenian portraiture as well. The portraits of the artist’s father and Paravon Mirzoyan are vigorously executed. The artist has achieved comprehensive psychological revelation of the characters’ inner and outer nature without needless effects (at a simple instant the artist has masterly rendered the enfeebled power of the patriarch’s eyes). On the other hand, in the Renaissance, Portrait of Anna and Varvara there prevail inner rhythm and lyricism. In pure expressive means and laconic composition, the impact of Hovnatanian is perceptible in slightly modified features, such as: bright blue colour scheme, transparent reflections and inner luminosity. In general, blue was the favorite colour and the symbol of eternity for our great masters of medieval art. So, aren’t the young girls as pure as crystal really the embodiment of eternity and beauty in Isabekian’s works? What mastery and a delicate sense of colour and form, harmony of artistic thought has the artist displayed in fine tonal contrasts.
Aram Isabekian proves that capacity of a true artist will never enfeeble, and that art is not a system of strict rules. Every subject-matter or a character dictates a specific means of interpretation and perception of beauty.
There is an absolute truth in art, which depends neither on the artist’s stylistic peculiarities nor modern trends that appeal to youth. It is the impression the spectator gets from the painting and its direct power of impact. Great masters of Armenian painting: M. Sarian, V. Sourenyants, G. Bashinjaghian, E. Tadevossian, E. Kochar, E. Issabekian and others had a completely different “handwriting”. Their successors: G. Khanjian, M. Avetissian, H. Galents, as well as contemporary talented artists H. Hakobian, A. Grigorian, R. Elibekian, R. Khachatrian have displayed a distinctive world perception, too. However, these artists of different views have come together for a common objective: to be acknowledged by their people and to reveal their imaginary world in the real one.
Aram Isabekian has a unique and honorary place among this amazing group of talents.
Hravard Hakobyan, PhD
Professor of Art History